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<  OU_1 60794 


OUP—  390—  29-4-72—  10,000 

OSMANIA  UNIVERSITY  LIBRARY 

Call  No.   £S*l      -30&t  Accession  No.      4  6   '  ** 


- 

Author 
Title 
This  book  should  be  returned  on  or  before  the  date  last  marked  below. 


THE  INDIAN 
BUDDHIST  ICONOGRAPHY 


Mainly  Based  on 

THE  SADHANAMALA 

and  Cognate   Tantric  Texts  of  Rituals 


BENOYTOSH  BHATTACHARYYA,  M.A.,Ph.o. 

Formerly  Director  of  Oriental  Institute  and  General  Editor, 
Qaekwad's  Oriental  Series,  Baroda 


FIRMA     K.   L.   MUKHOPADHYAY 

CALCUTTA  1958 


Published  by  K.  L.  MUKHOPADHYAY,    6/1A,  Banchharam  Akrur  Lane, 

Calcutta- 12,  India. 


SECOND  EDITION 
Revised  and  Enlarged  with  357  Illustrations 


JUNE    1958 


Dr.  B.  Bhattacharyya 
Naihati,  24-Parganas 


Printed  by  A.  C.  Ghosh,    GHOSH  PRINTING  HOUSE  PRIVATE  LIMITED, 
17 A,  British  Indian  Street,  Calcutta- 1 

Bound  by  NEW  INDIA  BINDERS,   5B,  Patwar  Bagan  Lane, 
Cakutta-9 


S-ntcrwed  to  me  <3olemQry  of 
^fattier 


PREFACE  TO  THE  SECOND  EDITION 

The  Mighty  Gods  and  Goddesses  of  the  Buddhist  Pantheon  wish 
to  reveal  themselves  before  the  world  once  again  through  the  pages  of 
the  Buddhist  Iconography.  Their  Will  is  supreme.  After  overconv 
ing  difficulties,  delays  and  obstacles,  the  Buddhist  Iconography  at 
last  is  presented  to  the  scholarly  world  in  a  second  edition  after  a 
lapse  of  full  thirty-four  years.  It  is  pleasant  to  live  these  long 
years  to  see  my  favourite  book  pass  through  a  second  edition.  This  is 
an  occasion  when  I  should  remember  with  gratitude  two  of  my  illus* 
trious  preceptors,  Professor  A.  Foucher  and  my  father  Mm.  Haraprasad 
Shastri  both  of  whom  are  no  longer  in  the  land  of  the  living.  I  believe 
in  my  heart  of  hearts  that  their  invisible  care  and  blessings  are  in  a 
large  measure  responsible  for  this  happy  ending.  It  gives  me  immense 
.satisfaction. 

When  the  first  edition  of  this  book  was  published  in  1924,  my 
studies  were  much  hampered  owing  to  paucity  of  material.  But  since 
then  such  a  great  volume  of  information  has  been  published  that  it 
appears  almost  overwhelming.  I  never  could  think  that  it  would  be 
possible  for  me  to  handle  such  vast  material  in  a  manner  befitting  this 
serious  subject.  Thus  the  second  edition  goes  to  the  world  with  all 
its  imperfections  of  which  I  am  conscious  more  than  my  critics. 

After  1924,  the  texts  of  the  Sadhanamala  and  the  Nispannayogavali 
were  published.  Both  these  texts  proved  to  be  veritable  mines  of 
information  on  Buddhist  gods  and  goddesses.  Between  the  two 
publications,  the  edition  of  the  Advayavajrasangraha  and  the 
Quhyasamaja  followed  in  rapid  succession,  and  the  information 
furnished  in  these  two  excellent  texts  not  only  added  to  my  difficulties, 
but  also  changed  materially  the  whole  outlook  underlying  the  classi- 
fication and  arrangement  of  Buddhist  deities.  These  Sanskrit  texts 
were  published  in  the  Qaekwad's  Oriental  Series  when  I  was  the  General 
Editor  under  my  erstwhile  Master,  the  late  His  Highness  Maharaja 
Sayaji  Rap  III,  Gaekwad  of  Baroda  and  his  illustrious  Dewan  Sir  V.  T* 
Krishnania  Chariar,  now  Deputy  Chairman  of  the  Planning  Commission 
for  the  Republic  of  India. 

^  >  Later,  publications  such  as  the  Elements  of  Buddhist  Iconography    by 
Coomaraswamy,  die  second  edition  of  the  Qods  of:  Northern  Buddhism 


VIII 

by  Alice  Getty,  the  Iconography  of  Tibetan  Lamaism  by  Mrs.  A.  K. 
Gordon  and  the  Iconography  of  Buddhist  and  Brahmanical  Sculptures  in 
the  Dacca  Museum  by  my  friend  and  colleague  Dr.  N.  K*  Bhattasali, 
Curator  of  the  Dacca  Museum,  made  my  work  of  revision  still  more 
difficult  and  embarrassing  ! 

Professor  Walter  Eugene  Clarke  of  the  Harvard  University  by 
publishing  the  two  sumptuous  volumes  of  the  Two  Lamaistic  Pantheons 
served  to  put  the  proverbial  last  straw  on  the  camel's  back.  This  book 
published  for  the  first  time  photographs  of  an  unbelievable  number 
of  Buddhist  statuettes  in  the  Royal  Temple  at  Peiping  in  Manchuria. 
If  the  statues  had  been  entirely  Chinese  in  character  it  would  not  have 
affected  me  in  the  least,  because  I  am  connected  palpably  with  the 
Indian  branch  of  Buddhist  iconography.  But  an  examination  of  the 
published  photographs  showed  that  the  Peiping  collection  was  exclu- 
sively  inspired  by  Indian  tradition,  depended  entirely  on  Indian  texts, 
and  faithfully  followed  the  directions  given  in  Sanskrit  texts  such  as 
the  Sadhanamala  and  the  Nispannayogavali.  The  remarkable  Indian 
character  of  the  Chinese  statuettes  led  me  to  include  a  large  number  of 
them  in  this  book,  and  their  study  made  the  task  of  revision  not  only 
difficult  but  also  delicate  by  forcing  me  to  include  Chinese  specimens 
in  a  book  which  is  chiefly  concerned  with  the  Indian  branch  of 
Buddhist  iconography.  I  must  thank  the  learned  American  author 
Professor  Clarke  for  imposing  on  me  this  additional  labour  and 
responsibility  ! 

The  study  of  the  Buddhist  branch  of  Indian  iconography  is  one  of 
the  most  interesting  and  fascinating  of  all  studies.  In  Buddhist  icono- 
graphy the  whole  world  is  interested  because  Buddhism  is  not  confined 
within  the  limits  of  India  like  Hinduism  or  Jainism,  but  travelled  far 
and  wide  beyond  the  Himalayas  to  Tibet,  China,  Japan,  Korea  and 
Mongolia  on  one  side,  and  to  Indo-China,  Siam,  Indonesia,  Burma 
and  Ceylon  on  the  other.  In  the  time  of  the  great  Achaemenid 
Emperor  Darius,  Lord  Buddha  laid  the  foundation  of  a  religion  which 
was  destined  to  be  the  religion  of  one  third  of  the  population  of  the 
globe.  The  fountain  head  of  inspiration  relating  to  Buddhist  icono- 
graphy was  furnished  by  the  ancient  Sanskrit  manuscripts  of  India,  and 
the  ideas  and  directions  contained  therein  travelled  to  different  coun- 
tries, notably  Tibet  and  China,  where  they  were  coloured  by  the  art  and 
culture  characteristics  of  the  respective  peoples.  We  have  now  reached 
a  stage  where  it  is  no  longer  possible  to  isolate  Buddhist  icono- 
graphy of  India  from  its  developments  in  Tibet  and  China  which  wer^ 
profoundly  influenced  by  the  Buddhist  Tantras  of  India,  And  thp 
chief  need  of  the  subject  is  the  publication  of  a  great  volume  of 


IX 

original  and  unpublished  manuscript  material  that  lies  hidden  in 
the  archives  of  MSS  Libraries  throughout  the  world.  When  this  huge 
material  is  published  then  alone  the  study  of  Buddhist  iconography 
can  be  said  to  be  complete. 

The  second  edition  has  been  thoroughly  revised  and  greatly  enlarged. 
New  chapters  have  been  incorporated,  old  chapters  have  been  redistri- 
buted. Many  pictures  have  been  deleted,  and  many  new  ones  have 
been  included  in  order  to  make  the  study  as  up-to-date  as  possible. 
In  1924,  when  the  first  edition  'was  published,  I  could  only  see  the 
material  side  of  the  problem.  But  with  the  availability  of  fresh  material, 
the  other  side,  namely  the  psychic  side,  also  became  apparent.  Evidence 
of  this  change  will  be  found  in  the  introduction  which  is  almost  wholly 
re-written,  as  also  in  other  chapters,  notably  on  the  Dhyani  Buddhas. 
I  offer  an  explanation  here  lest  my  readers  receive  a  shock  while  reading 
this  book  in  a  second  edition.  I  may  further  point  out  that  repetitions 
in  a  book  of  this  kind  can  hardly  be  avoided,  and  deities  have  been 
repeated  at  different  places  for  different  purposes  and  in  different 
contexts.  My  critics  of  the  first  edition  will  also  notice  how  irregularit- 
ies pointed  out  by  them  have  been  regularised  in  the  second  edition 

In  preparing  this  edition  I  have  received  help  from  a  number  of 
persons.  With  their  help  I  could  complete  the  revision  and  place  the 
book  in  the  hands  of  scholars  in  its  present  form.  First  of  all,  it  is 
my  sacred  duty  to  acknowledge  the  debt  I  owe'  to  the  late  lamented 
Dr.  N.  P.  Chakravarti,  one-time  Director-General  of  Archaeology  in 
India,  for  graciously  permitting  me  to  reproduce  all  the  photographs 
belonging  to  the  Department  as  were  included  in  the  first  edition. 
These  photographs  either  purchased  direct  or  reproduced  from  Depart- 
mental publications  are  shown  in  the  list  of  Acknowledgements. 
It  is  hardly  necessary  for  me  to  add  that  iconographic  studies  in  India 
are  not  possible  without  the  generous  help  of  the  Archaeological 
Department — help  that  is  always  given  cheerfully  as  also  gracefully. 

Shrimati  Hansa  Ben  Mehta,  the  talented  Vice-Chancellor  of  the 
Maharaja  Sayajirao  University  of  Baroda,  has  laid  me  under  a  deep 
debt  of  obligation  by  ordering  a  loan  for  the  purpose  of  reproduction, 
of  nine  full-page  blocks  belonging  to  the  University.  As  the  Baroda 
Museum  now  belongs  to  this  University  I  have  to  thank  the  Vice- 
Chancellor  also  for  using  the  Baroda  Museum  specimens  in  this  book. 

It  is  difficult  for  me  to  adequately  express  my  gratitude  and  thank- 
fulness to  our  worthy  colleague  and  associate,  Prof.  Walter  Eugene 
CSark,  Wales  Professor  of  Sanskrit  in  the  Harvard  University,  who 

gSve  me  permission  to  reproduce  as  many  photographs  as  I  liked  from 
\< 

B 


X 

his  monumental  book  :  Two  Lamaistic  Pantheons.  He  made  no 
conditions,  and  I  am  simply  overwhelmed  with  his  kindness  and 
generosity. 

To  my  friend  and  colleague,  Dr.  Hermann  Goetz,  formerly  Curator 
of  the  Baroda  Museum,  I  feel  very  deeply  indebted  for  allowing  me  to 
take  a  number  of  photographs  of  interesting  Buddhist  images  deposited 
in  the  Baroda  Museum  years  ago,  for  their  eventual  reproduction  in 
this  volume  from  my  own  negatives.  All  the  statuettes  belonging  to 
the  Baroda  Museum  and  published  in  this  book  show  the  place  of  their 
origin  at  the  foot  of  each  and  every  such  illustration.  I  have  to  thank 
the  Baroda  Musuem  authorities  and  Dr.  Goetz,  the  eminent  art-critic, 
very  heartily  for  the  favours  enumerated  above. 

Pandit  Siddhiharsha  Vajracaryya  of  Nepal,  my  friend,  philosopher 
and  guide,  helped  me  at  every  step.  He  supplied  copies  of  rare  manus- 
cripts  and  original  Nepalese  drawings  of  rare  deities  whenever  there 
was  need  for  them.  The  drawings  of  the  Twenty-Five  Bodhisattvas 
were  all  procured  by  him  from  Nepalese  artists.  Out  of  this  number, 
sixteen  were  copied  from  stone  images  in  one  of  the  famous  Caityas 
of  Patan  in  Nepal.  I  am  deeply  indebted  to  him,  as  also  to  his  son 
Dharmaharsha  and  his  grandson  Purnaharsha  Vajracaryya  for  their 
intelligent,  prompt,  active  and  effective  co-operation.  I  am  also  grate* 
ful  to  my  old  artist  of  Nepal,  Virman  Chitrakar  who  supplied  all  the 
Nepalese  drawings  illustrated  in  the  first  edition. 

To  Professor  N.  A.  Gore  I  am  indebted  for  three  beautiful  photo- 
graphs :  one  of  Ganapati  (four-armed)  and  two  of  the  rare  deity 
Simhasya  from  originals  in  the  collection  of  his  father-in-law,  Dr.  H.  G. 
Moghe,  L.  D.  S.,  R.  C.  S.  (  Eng*  )  of  Khar,  Bombay.  I  express  my 
gratitude  to  both  while  reproducing  all  the  three  photographs  in  this 
edition. 

I  take  this  opportunity  of  once  again  recording  my  heartfelt  thanks 
to  Dr.  W.  Y.  Evans- Wentz  who  allowed  me  years  ago  to  reproduce 
some  of  the  miniatures  in  his  possession.  His  name  is  mentioned  at 
appropriate  places. 

My  grateful  thanks  are  also  due  to  Miss  Raihana  Tyabji,  the  mystic 
daughter  of  the  illustrious  Indian  leader,  the  late  Shri  Abbas  Tyabji, 
for  going  through  the  first  edition  for  the  purpose  of  a  detailed  revision 
more  than  15  years  ago. 

I  am  also  indebted  to  the  Manager,  Bomby  Branch  of  the  Oxford 
University  Press  for  readily  agreeing  to  have  this  second  edition  pub" 
lished  through  Firma  K.  L.  Mukhopadhyay,  It  was  he  who  pursua* 


ded   me,   much  against  my  wishes,  to    revise  the   book  for  a  second 
edition  as  early  as  1949.     I  have  many  reasons  to  be  thankful  to  him. 

It  is  my  pleasant  duty  to  express  my  indebtedness  to  the  Curators, 
Keepers  and  Superintendents  of  Museums,  Picture  Galleries,  image 
collections,  and  the  rest,  wherefrom  images  in  metal,  stone  and  paint' 
ings  have  been  selected  for  reproduction  in  this  volume.  I  am  parti* 
culary  grateful  to  the  authorities  of  the  Indian  Museum,  Calcuttta, 
the  Museum  and  Picture  Gallery  at  Baroda,  the  Provincial  Museum, 
Lucknow,  the  Museums  at  Sarnath,  Nalanda  and  Dacca,  the  Vangiya 
Sahitya  Parisat  Museum,  Calcutta,  and  the  Palace  Temple  Collection 
of  images  at  Peiping  in  Manchuria.  To  all  of  them  I  tender  my 
grateful  acknowledgments. 

All  those  Universities  of  India  which  prescribed  the  first  edition  of 
the  Indian  Buddhist  Iconography  as  a  textbook  for  the  M.A.  Examination 
in  Ancient  Indian  History  and  Culture,  deserve  my  grateful  thanks  for 
selecting  the  book.  It  is  hoped  that  the  authorities  will  extend  the  same 
patronage  to  the  second  edition  which  is  now  published. 

My  grateful  thanks  are  due  to  Messrs.  Ghosh  Printing  House 
Private  Limited,  Calcutta,  especially  Shri  P.  C.  Basak,  for  exercising 
great  care  on  the  accurate  printing  and  excellent  geMip  of  this  volume. 
In  spite  of  our  best  efforts,  however,  a  few  errors  have  crept  in,  and  for 
these  I  crave  the  indulgence  of  my  readers.  These  are  mostly  minor 
errors  and  can  be  corrected  with  ease.  Shri  N.  L.  Dutt  has  also  been 
very  helpful,  and  I  acknowledge  my  indebtedness  to  him. 

Lastly,  I  am  duty  bound  to  acknowledge  my  indebtedness  to  my 
brother  Shriyut  Paritosh  Bhattacharyya  of  Messrs.  Sandal  &.  Co., 
Calcutta,  for  his  sustained  encouragement  and  for  his  many  acts  of 
kindness. 

My  gratitude  to  Shri  K.  L.  Mukhopadhyay  of  Firma  K.  L.  Mukho* 
padhyay  knows  no  bounds,  for  all  that  he  has  done  in  bringing  out 
this  edition  in  its  present  form.  I  thank  him  cordially  and  bless  him 
heartily. 

This  time  I  can  only  inscribe  the  book  to  the  memory  of  my  loving 
father,  the  late  Mahamahopadhyaya  Haraprasad  Shastri  in  whose  invisi- 
ble but  tender  care  I  have  the  honour  to  place  this  second  edition  of 
Buddhist  Iconography. 

Shastri  Villa 

Naihati  (West  Bengal)  B.  BHATTACHARYYA 

Rathayatra  1958 


ABBREVIATIONS 


A  Appendix 

ADV  Advayavajrasangraha 

ASI  Archaeological  Survey  of  India 

Bendall  Professor  Cecil  Beridall 

Bhattasali  (Dr.)  N.  K.  Bhattasali 

Clark  Professor  Walter  Eugene  Clark 

Foucher  Professor  A.  Foucher 

Getty  Miss  Alice  Getty 

GNB  Qods  of  Northern  Buddhism 

Gordon  Mrs.  A.K.Gordon 

GOS  Qaekwad's  Oriental  Series 

IBBS  Iconography  of  Buddhist  and  Brahmanical  Sculptures  i 

the   Dacca    Museum 

ITL  Iconography  of  Tibetan  Lamaism 

JASB  Journal  of  the  Asiatic  Society  of  Bengal 

JBORS  Journal  of  the  Bihar  and  Orissa  Research  Society 

JRAS  Journal  of  the  Royal  Asiatic  Society  of  Qreat  Britain 

Kern  Professor  H.  Kern 

NSP  Nispannayogavall 

Samasrami  Pandit  Satyavrata  Samasrami 

TLP  Two  Lamaistic  Pantheons,  2  Vols. 

Vogel  Professor  J.  Ph.  Vogel 


ACKNOWLEDGMENTS 

Grateful  acknowledgments  are  made  of  the  Courtesy  and  Copy* 
right  of  the  following  institutions  among  others  and  of  private  collec- 
tions, with  their  officers,  curators,  keepers,  superintendents  as  well  as 
individual  owners,  while  reproducing  photographs  of  images,  bronzes, 
sculptures,  bas-reliefs,  statuettes,  miniatures  and  blocks  in  their  charge, 
the  copyright  being  reserved  in  all  appropriate  cases. 

L  The  Archaeological  Survey  of  India,  New  Delhi  along  with  the 
Archaeological  Museums  at  Calcutta,  Lucknow,  Sarnath  and  Nalanda 
functioning  under  the  Department,  in  respect  of  Figures  :  1,  2,  3,  4,  5, 
17,26,27,45,46,77,81,83,84,85,94,95,96,98,  99,  101,  104,  105, 
107,  116,  130,  138,  140,  142,  148,  152,  153,  154,  156,  166,  167,  169,  180, 
189,  190  and  233. 

II.  The  Museum  and  Picture  Gallery  under  the   M.  S.  University, 
Baroda,  in  respect  of  Figures  :  13,  16,  42,  74,  75,  87,  92,   97,    106,    127, 
131,  160,163,168  and  188, 

III.  The  Palace  Temple  at  Peiping  in  Manchuria  and  the  author  of 
the  Two  Lamaistic  Pantheons,  2  Vols.,  Professor  Walter  Eugene  Clark, 
in  respect  of  Figures  :  30,  50,  71,  80,  111,  114,  115,  122,  123,  129,   133, 
183,  193,  194,  195,  202,  203,  204,  205,  206,  207,  208,  209,  210,  211,  212, 
213,  214,  217,  219,  220,  221,  222,  223,  224,    225,   231,  236,  237,  238, 
239,  240,  241,  242,  243,  244,  245,  246,  247  and  248. 

IV*  Professor  W.  Y.  Evans- Wentz  (private  collection),  in  respect  of 
Figures  :  19,  22,  28,  33,  37,  150,  157,  165,  196,  197,  198,  199,  200  and 
229. 

V.  Dacca  Museum,  Dacca  (East  Pakistan),  in  respect  of  Figures  : 
89,  125,  185  and  249. 

VI.  Vahglya  Sahitya  Parisat,  Calcutta,  in  respect  of  Figures  :  93  and 
149. 

VII.  Dr.  H.  G.   Moghe,  L.D.S.,  R.C.S.  (Eng.),  of  Khar,  Bombay 
(private  collection),  in  respect  of  Figures  :  215,  216  and  227. 

VIIL    Berlin  Museum,  Berlin,  Germany,  in  respect  of  Figure  «  90. 
IX.    Leiden  Museum,  Leiden,  Holland,  in  respect  of  Figure  :  141, 


XIV 

X.  The  Late  Mr.  W.  B.  Whitney  of  New  York  (private  collection), 
in  respect  of  Figure  :  161. 

XL     The  Hindu  Monastery  at  Bodh  Gaya,  in  respect  of  Figure  :  1 64- 
XIL    Dacca   Sahitya  Parisat,  Dacca  (East  Pakistan),   in  respect  of 
Figure  :  184. 

XIIL  Her  Highness  The  Dowager  Maharani  Chimanabai  Gaekwad 
of  Baroda  (private  collection),  in  respect  of  Figure  :  228. 

XIV,  The  Oriental  Institute  of  the  M.S.  University,  Baroda  for  the 
loan  of  nine  full  page  blocks,  in  respect  of  Figures  :  89,  99.    103,   105, 
156,  166,  169,  173  and  177. 

XV.  The  Indian  Museum,  Calcutta,  in  respect  of  Figures  :  1,3,  4, 
5,  26,  45,  46,  81,  84,  85,  95,  104,  138,  140,  142,  148,  152,  153,  156,  167, 
169,  180  and  190. 

XVL  The  Nalanda  Museum,  Nalanda  (Bihar),  in  respect  of  Figures  ; 
17,  27,  189  and  233. 

XVII.  The  Provincial  Museum,  Lucknow,  in  respect  of  Figures :  99, 
105,  154  and  166, 

XVIIL  The  Saranath  Museum,  Saranath  (Benares),  in  respect  of 
Figures  :  77,  94,  98,  107,  116  and  130. 

XIX.  Pandits  Siddhiharsha,  Dharmaharsha  and  Purnaharsha  Vajra- 
caryya  of  Kathmandu  (Nepal),  in  respect  of  Nepalese  images  repn> 
duced  in  Figures  :  9,  10,  11,  14,  15,  29,  43,  44,  82,  86,  91,  102,  108, 
146,  151,  176,  187,201  and  226. 


SYNOPSIS  OF  CONTENTS 

Preface 

Abbreviations 

Acknowledgments 

Synopsis  of  Contents 

List  of  Illustrations 

Select  Bibliography 

Errata 

Introduction  ...  ...  •••  1 

1.  Materials  for  the  study  of  Buddhist  Iconography  ; 
2,  Vajrayana  Mysticism  ;  3.  The  Psychic  Process  of 
Sadhana  ;  4.  Godhead  in  Buddhism  ;  5.  The  Pantheon. 

CHAPTER!.    Dhyani  and  Mortal  Buddhas  ...  ...          42 

Vajradhara  ;  1.  Amitabha  ;  Pandara  ;  Padmapani  ; 
2.  Aksobhya  ;  Mamaki  ;  Vajrapani  ;  3.  Vairocana  ; 
Locana  ;  Samantabhadra  ;  4*  Amoghasiddhi  ;  Tara  ; 
Visvapani  ;  5.  Ratnasambhava  ;  Vajradhatvlsvarl  ;  Ratna- 
pani  ;  6.  Vajrasattva  ;  Vajrasattvatmika  ;  Ghantapani  ; 
Mortal  Buddhas  ;  Vajrasana  ;  Durgatiparisodhana ; 
Mortal  Buddhasaktis  ;  Mortal  Bodhisattvas  ;  Maitreya. 

CHAPTER  II.     The  Bodhisattvas  ...  ...  ...          82 

1.      Samantabhadra  ;      2.     Aksayamati     ;     3.      Ksiti- 
garbha  ;   4.     Akasagarbha  ;  5,    Gaganaganja    ;  6.     Ratna-  . 
pani ;  7.    Sagaramati ;  8.  Vajragarbha  ;  9V?walokitesvara  ;/x 
10.      Mahasthamaprapta   ;  11.     Candraprabha  ;  12.    Jali- 
niprabha ;  13.    Amitaprabha  ;    14.     Pratibhanakuta   ;    15. 
Sarvasokatamonirghatamati  ;  16.  Sarvanivaranaviskambhi ; 
17.     Maitreya  ;  18.  Manjusri  )  19.  Gandhahasti  ;  20.    Jna- 
naketu  ;     21.      Bhadrapala   ;   22,     Sarvapayanjaha  ;  23, 
Amoghadarsi ;  24-    Surangama  ;    25.  Vajrapaanii  (  General 
remarks. 

CHAPTER  IIL    Bodhisattva  Manjusri  ...  ...         100 

1.  Vajraraga  ;  2.  Dharmadhatu-Vagisvara  ;  3.  Manju* 
ghosa  ;  4.  Siddhaikavlra  ;  5.  Vajrananga  ;  6,  Kama" 
sangiti  Manjusri ;  7.  Vagisvara  ;  8.  Manjuvara  ;  9.  Man- 
juvajra  ;  10>  Manjukumara  ;  11.  Arapacana  ;  12.  Sthira- 
cakra  ;  13.  Vadirat, 


XVI 

CHAPTER  IV.    Bodhisattva  Avalokitesvara  |       ...  ...        124 

1.  Sadaksari  Lokesvara  ;  2.  Sirhhanada  ;  3.  Khasarpana; 

4.  Lokanatha  ;  5.  Halahala  ;  6.  Padmanarttesvara  ;  7-  Hari^ 
hariharivahana  ;  8.  Trailokyavasankara  ;   9.   Rakta-Lokes' 
vara  ;  10.  Mayajalakrama   ;    11.    Nilakantha  ;  12.  Sugati- 
sandarsana  ;     13.     Pretasantarpita  ;  14.    Sukhavati   Lokes* 
vara  ;  15.  Vajradharma  ;  General. 

CHAPTER  V.     Emanations  of  Amitabha    -  ...  ...     145 

I.  Gods  :  ^ 

1.     Mahabala  ;  2.     Saptasatika  Hayagriva 

II.  Goddesses  : 

3.  Kurukulla   ;    4.  Bhrkuti  ;   5.  Mahasitavatl 
CHAPTER  VI.     Emanations  of  Aksobhya  ...  ...         154 

I.  Gods  : 

1.  Candarosana  ;  2.  Heruka  ;  3.  Hevajra  ;  4.  Buddha- 
/kapala  ;  5.  Sambara  ;  6.  Saptaksara  ;  7.  Mahamaya  ; 
8.  Havamya  ;  9  Raktayamah  ;  10.  Krsnayamari  ;  11.  Jam- 
bhala  ;  12.  Occhusma  Jambhala  ;  13.  Vighnantaka  ; 
14.  Vajrahuhkara  ;  15.  Bhutadamara  ;  16.  Vajrajjvalana- 
larka  ;  17.  Trailokyaviiava  ;  18.  Paramasva  ;  19.  Yogam- 
bara  ;  20.  Kalacakra. 

CHAPTER  VII.     Emanations  of  Aksobhya   (continued)        ...  189 

II.  Goddesses  : 

1.  Mahaclnatara  ;  2.  Janguli  ;  3*  Ekajata  ;  4.  Vidyu- 
jjvalakarall  ;  5.  Parnasabarl  ;  6.  ^Prajnaparamita  ;  7.  Vajra- 
carcika  ;  8.  Mahamantranusarini  ;  97^/TanSpratyahgira  ; 
10.  Dhvajagrakeyura  ;  11.  Vasudhkra  ;  12.  Nairatma  ; 
13.  Jnanadakini  ;  14.  VajravidaranL 

CHAPTER  VIII.     Emanations  of  Vairocana  ...  ...       206 

I.  Gods  : 

1.  Namasahgiti 

II.  Goddesses  ; 

2.  M and  ;  3.  Usnisavijaya  ;  4.   Sitatapatra  Aparajita  ; 

5.  MahasahasrapramardanI  ;    6.  Vajravarahl  ;    7.  Cunda  ; 
8.  Grahamatrka. 

CHAPTER  IX.     Emanations  of  Amoghasiddhi     ...  ...         226 

I.     Gods  : 

1 .    Vajramrta 


XVJI 

II.    Goddesses  : 

2.  Khadiravam  Tara  ;  3.     Mahasrl  Tara  ;  4.    Vasya- 
tara  ;  5.  Sadbhuja  Sitatara  ;  6.  Dhanada  Tara  ;  7.  Sitatara 
8.  Parnasabari  ;    9.     Mahamayun  ;      10.     Vajrasrnkhala  ; 
11.  Vajragandhari. 

CHAPTER  X.     Emanations  of  Ratnasambhava     ...  ...         237 

I.  Gods  :  ^>^~ 

1.    Jambhala  ;  2.     Ucchusma  Jambhala 

II.  Goddesses  :  .s** 

3.  Vaipatara   ;    4.     Mahapratisara  ;  5.     Vasudhara  ; 

6.    ApaJtfjita  ;    7.  Vajrayogim  ;  8.  Prasanna  Tara 
CHAPTER  XL    Collective  Deities  ...  ...  ...         251 

I.  Ten  Gods  of  Direction  :  ...  ...  ...         251 

1.  Yamantaka  ;  2.  Prajnantaka  ;  3.  Padmantaka  ; 
4.  Vighnantaka  ;  5.  Takkiraja  ;  6.  Niladanda  ;  7*  Maha- 
bala  ;  8.  Acala  ;  9.  Usmsa  ;  10.  Sumbharaja. 

II.  Six  Goddesses  of   Direction:  ...  ...         256 

1.  Vajrankusi  ;  2.  VajrapasI  ;  3.  Vajrasphota  ; 
4.  Vajraghanta  ;  5.  Usmsavijaya ;  6.  Sumbha. 

III.  Eight  Usmsa  Gods  ;  ...  ...  ...         299 

1.  Vajrosmsa  ;  2.  Ratnosmsa  ;  3.  Padmosmsa  ; 
4.  Visvosmsa  ;  5.  Tejosmsa  ;  6.  Dhvajosmsa  ;  7.  Tik- 
snosmsa  ;  8.  Chhatrosmsa. 

IV.  Five  Protectresses  :  ...  ...  ...         302 

1.      Mahapratisara    ;  2.      Mahasahasrapramardani ; 

3.  Mahamantranusarim  ;  4.     Maha$ItavatI ;     5.     Maha* 
mayurL 

V.  Taras  of  Five  Colour  :  ...  ...  ...         306 

1.    Green  Tara  ;     2.  White  Tara  ;     3.  Yellow  Tara  ; 

4.  Blue  Tara;     5.     Red  Tara. 

VI.  Eight  Gaurl  Group  :  ...  ...  ...         309 

1.    Gaurl;     2.    Cauri  ;     3.   Vetall  ;    4.    Ghasmarl ; 

5.  Pukkasi;    6.     Saban  ;     7.     Candali ;    8.     Dombi. 

VII.  Four  Dance  Deities :  ...  ...  ...         312 

1.     Lasya  ;     2..   Mala;     3.     Gita  ;     4.   Nrtya. 

VIIL     Four  Musical  Instruments :  ...  ..,         314 

L    Vaihsa  ;    2.    Vina;    3.  Mukunda ;     4.  Muraja. 


XVIII 

IX.  Four  Door  Goddesses  :  ...  ...  ...        316 

L    Talika  ;    2.  KuncI  ;    3.  Kapata  ;   4.  Patadharinl 

X.  Four  Light  Goddesses :  ...  ...  ...         317 

1.  Suryahasta  ;  2.  Dlpa  ;  3.  Ratnolka  ;  4.  Tadit- 
kara. 

XL     Four  Animal-Faced  Goddesses  :  ...  ...         319 

1.  Hayasya  ;  2.  bukarasya  ;  3.  Svanasya  ;  4.  Sim- 
hasya. 

XIL    Four  Dakim  Group  :  ...  ...  .        321 

1.    Dakim  ;  2.    Lama  ;    3.   Khandaroha  ;  4.   Rupim. 

CHAPTER  XIL     Philosophical  Deities  :  ...  323 

I.  Twelve  Paramitas  :      ...  ...  ...  ...        323 

1.  Ratnaparamita  ;  2.  Danaparamita  ;  3.  cillapara- 
mita  ;  4.  Ksantiparamita  ;  5.  Viryaparamita  ;  6.  DKya- 
naparamita  ;  7.  Prajnaparamita  ;  8  Upayaparamita  ; 
9.  Pranidhanaparamita  ;  10.  Balaparamita  ;  11.  Jnana* 
paramita  ;  12.  Vajrakarmaparamita. 

II.  Twelve  Vasita  Goddesses  :          ...  ...  ...         328 

1.  Ayurvasita  ;  2.  Cittavasita  ;  3.  Pariskaravasita  ; 
4.  Karma vasita  ;  5.  Upapattivasita  ;  6.  Rddhiva- 
sita  ;  7.  Adhimuktivasita  ;  8.  Pranidhana vasita  ; 
9.  Jnanavasita  ;  10.  Dharmavasita  ;  11.  Tathatavasita  ; 
12,  Buddhabodhiprabha-vasita. 

III.  Twelve  Bhumis  :  ...  ...  ...        333 

1.  Adhimukticarya  ;  2.  Pramudita  ;  3.  Vimala  ; 
4*  Prabhakan  ;  5.  Arcismatl ;  6.  Sudurjaya  ;  7.  Abhi- 
mukhl ;  8.  Durangama  ;  9.  Acala ;  10.  Sadhu- 
mat! ;  11.  Dharmamegha ;  12*  Samantaprabha. 

IV.  Twelve  Dharinls  :  ...  ...  ...        337 

1.  Sumati ;  2.  Ratnolka  ;  3.  Usrnsavijaya  ; 
4»  Marl ;  5.  Parnasabarl ;  6.  Jahgull  ;  7.  Ananta- 
mukhl ;  8  Cunda  ;  9.  Prajnavardhanl ;  10.  Sarvakar- 
mavaranavisodhanl  ;  11.  Aksayajnanakaranda  ;  12 
Sarvabuddhadh  armakosa  vatL 

V.  Four  Pratisamvits :  ...  ...  ...        342 

L    Dharma  Pratisamvit ;    2.    Artha  Pratisamvit ; 
3.  Nirukti  Pratisamvit ;    4.    Pratibhana  Pratisamvit. 


XIX 

: CHAPTER  XIII.    Hindu  Gods  in  Vajrayana  :  ...  ...        344 

1.  Mahakala  ; 

2.  Ganapatl ; 

3.  Ganapatihrdaya  ; 
4     Sarasvatl ; 

5.  The  Eight  Dikpalas  :  ...  ...        352 

I     Indra  ;    II.  Yama  ;  III.    Varuna  ;  IV.   Kubera  ; 

V.    Isana  ;  VI.    Agni ;  VII    Nairrti ;  VIII.    Vayu 

6.  Ten  Principal  Hindu  Deities :  **r~  ...        363 

^IT  Brahma ;     II.    Visnu  ;    III.  "Stahesvara ;    IV. 

Karttikeya  ;    V.    Varahl ;     VI.  Camunda  ;     VII. 

BhrngI;     VIII.     Ganapati ;     IX  MahSkala  ;     X. 
Nandikesvara. 

7.  Nine  Planets:  ...  ...  ...        367 

I.  Aditya;  II.  Candra ;  III.  Mangala  ;  IV. 
Budha;  V.  Brhaspati ;  VI.  Sukra ;  VII.  3ani; 
VIII.  Rahu ;  IX.  Ketu. 

8.  Balabhadra  Group :  ...  ...  ...        378 

I.     Balabhadra  ;    II.    Jayakara  ;    III.     Madhukara ; 

IV7,  Vasanta. 

9.  Lords  of  the   Yaksas,    Kinnaras,  Gandharvas  and 
Vidyadharas :  ...  ...  ...  ...        379 

I.  Yaksa  Kings  ;  II.  Kinnara  King  ;  III.  Gandharva 
King;  IV.  Vidyadhara  King. 

10.  Twenty-Eight  Constellations  ...  ...        381 

11.  Time  Deities:  ...  ...  ...        382 

I.    Months ;    II.    Dates ;     III.     Zodiacal    Signs ; 

IV.    Seasons 

CHAPTER  XIV.    Conclusion  ...  ...  ..."  334 

Apppendix.    108  Forms  of  Avalokitesvara  ...  ...  394 

Glossary  ...  ...  ...  ...  ...  432 

Index  of  Words  ...  ...  .„  ...  443 

Index  of  Illustrations  ...  ...  ...  ...  457 


LIST  OF  ILLUSTRATIONS 


Fig.  Names  Page 

1.  Maya's  Dream  (Bharhut)  .  ...  33 

2.  BodhiTree  (Sanchi)     ..  ...                         ..  33 

3.  Buddha's  Head-dress  (Bharhut)  ...  36 

4.  Buddha's  Footprints  (Bharhut)  ...  ...  36 

5.  WheeLof-the-law  (Bharhut)  ..  ..  36 

6.  Simbhu  (Nepal)            ...  ...  ...  37 

7.  Baudh  (Nepal)              ...  ..  ...  37 

8.  Kathe  Simbhu  (Nepal)  .  37 

9.  Dharma  (Nepal)            ...  ...                    ,    ...  40 

10.  Buddha  (Nepal)             ...  ...  ...  40 

11.  Sangha  (Nepal)  ...  40 

12.  Adibuddha  Vajradhara  (Nepal)  ...  ...  57 

13.  Vajradhara  (Baroda  Museum)  ...  ...  58 

14.  Vajradhara  Yab^yum  (Nepal)  ...  ...  58 

15.  Vajradhara  Yab-yum  (side  view)  .  ...  58 

16.  Vajradhara  (Baroda  Museum)  ...  .  58 

17.  Buddha  in  different  Mudras  (Nalanda  Museum)  ...  59 

18.  Buddha  in  different   Mudras  (Java)      ...  ...  59 

19.  Amitabha  (Nepalese  miniature)  ..  ...  60 

20.  Pandara  (Nepalese  drawing)  ...  ...  60 

2L  Padmapani  (Nepal)       ...  .  ...  60 

22.  Aksobhy a  (Nepalese  miniature)  ...  ...  60 

23.  Aksobhya  (Nepal)        ...  ...  ...  61 

24.  MamakI  (Nepalese  drawing)  ...  61 

25.  Vajrapani  (Nepal)         ...  ...  ...  61 

26.  Vajrapani  (Indian  Museum)  ...  ..  62 
2?.  Vajrapani  (Nalanda  Museum)  ...  ...  62 

28.  Vairocana  (Nepalese  miniature)  ...  ...  62 

29.  Vairocana  (Nepal)        ...  ...  62 

30.  Vairocana  Vajradhatu  (Peiping)  ..  ...  63 

31.  Locanl  (Nepalese  drawing)  ...  ...  63 

32.  Samantabhadra  (Nepal)  ...  ...  63 

33.  Amoghasiddhi  (Nepalese  miniature)     ...  ...  64 

34.  Amoghasiddhi  (Nepal)  ...  ...  64 


XXI 

Fig.                                                     Names        '  Page 

35.  Tara  (Nepalese  drawing)                          ...  ...  64 

36.  Vilvapani  (Nepal)         ...                        ...  ...  65 

37.  Ratnasambhava  (Nepalese  miniature)  ...  ...  65 

38.  Ratnsambhava   (Nepal)                          ...  ...  65 

39.  Vajradhatvisvari  (Nepalese  drawing)      .  ...  66 

40.  Ratnapani  (Nepal)         ...                        •••  ...  66 

41.  Vajrasattva  (Nepal)                                ..  ...  66 

42.  Vajrasattva  (Baroda  Museum)                ...  .-  '67 

43.  Vajrasattva  Yab-yum  (Nepal)                  ...  ...  67 

44.  Vajrasattva  Yab-yum  (side  view)            ...  ...  67 

45.  Seven      Mortal      Buddhas     with      Maitreya       (Indian 

Museum)                      ...                        ...  ...  68 

46.  Vajrasana  (Indian  Museum)                   ...  .».  68 
47*  Maitreya  (Nepalese  drawing)                  ...  ...  69 

48.  Samantabhadra  (Nepalese  drawing)      ...  ...  69 

49.  Aksayamati  (Nepalese  drawing)             ...  ...  69 

50.  Aksayamati  (Peiping)...                          ...  ...  70 

51.  Ksitigarbha  (Nepalese  drawing)             ..  ...  70 

52.  Akasagarbha   (Nepalese  drawing)         ...  ...  70 

53.  Gaganaganja  (Nepalese  drawing)            ...  ...  71 

54.  Ratnapani  (Nepalese  drawing)               ...  ...  71 

55.  Sagaramati  (Nepalese  drawing)                ...  ...  71 

56.  Vajragarbha  (Nepalese  drawing)            ...  ...  72 

57.  Avalokitesvara  (Nepalese  drawing)       ...  ...  72 

58.  Mahasthamaprapta  (Nepalese  drawing)  ••  72 

59.  Candraprabha  (Nepalese  drawing)         ...  ...  105 

60.  Jalinlprabha  (Nepalese  drawing)            ...  ...  105 

61.  Amitaprabha  (Nepalese  drawing)          ...  ...  105 

62.  Pratibhanakuta  (Nepalese  drawing)        ...  ...  106 

63.  Sarvasokatamonirghatamati  (Nepalese  drawing)  ...  106 

64.  Sarvanivaranaviskambhi  (Nepalese  drawing)  ...  106 

65.  Maitreya  (Nepalese  drawing)                   ...  ...  107 

66.  Manjusr!  (Nepalese  drawing)                  ...  ...  107 

67.  Gandhahasti  (Nepelese  drawing)            ...  ...  107 

68.  Jnanaketu  (Nepalese  drawing)                ...  '...  l68 

69.  Bhadrapala  (Nepalese  drawing              ...  '...  108 

70.  Sarvapayanjaha  (Nepalese  drawing)      ...                  '      ...  '108 

71.  Sar vapiy an jaha  (Peiping)                        ...  .:.  '109 

72.  Amoghadarsin  (Nepalfese  drawing)       ...    '              -     !.-.  i09 
'73.  Surangama  (Nepalese  drawing)              ...  '  ..:  "J09 

74.  Manjusn  with  Ganapati  and  Vi^snu  (Baroda  Museum^:/  1 10 


XXII 

Fig.                                                Names  Page 

75.  Vajraraga  (Baroda  Musem)                   ...  ...  110 

76.  Vajraraga  (Nepalese  drawing)                ...  ...  110 

77.  Siddhaikavlra  (Sarnath  Museum)          ...  ...  Ill 

78.  Vajrananga  (Nepalese  drawing)             ...  ...  Ill 

79.  Namasanglti  Manjusrl  (Nepalese  drawing)  ...  111 

80.  Namasanglti  Manjusrl  (Peiping)            ...  ...  112 

81.  Vaglsvara  (Indian  Museum)                  ...  ...  112 

82.  Vaglsvara  (Nepal)         ...                        ...  ...  112 

83.  Manjuvara  (Birbhum)  ...                        ...  ...  169 

84*  Manjuvara  (Indian  Museum)                ...  ...  169 

85.  Manjuvara  (Indian  Museum)                .-.  ...  169 

86.  Manjuvara  (Nepal)       ...                        ...  ...  170 

87.  Manjuvajra  (Baroda  Museum)              ...  ...  170 

88.  Manjukumara  (Nepalese  drawing)       ...  ...  170 

89.  Arapacana  (Dacca  Museum)                 ...  ...  171 

90.  Arapacana  (Berlin  Museum)                   ...  ...  172 

9L  Arapacana  (Nepal)       ...                        ...  ...  172 

92.  Arapacana  (Baroda  Museum)                ...  ..  172 

93.  Sthiracakra  (Vanglya  Sahitya  Parisat)  ...  ...  173 

94-  Sadaksari  Group  (Sarnath  Museum)    ...  ...  173 

95.  Sadaksari  Group  (Indian  Museum)       ...  ...  173 

96.  Sadaksari  Group  (Birbhum)                  ...  ...  174 

97.  Sadaksari  Lokesvara  (Baroda  Museum)  ...  174 

98.  Sadaksari  Mahavidya  (Sarnath  Museum)  ...  174 

99.  Simhanada— Mahoba  (Lucknow  Musuem)  ...  175 

100.  Simhanada  (Nepal)      ...                          ...  ...  176 

101.  Simhanada  (Magadha)                           ...  ...  176 

102.  Simhanada  (Nepal)       ...                        ...  ...  176 

103.  Khasarpana  (Vikrampur,  Dacca)            ...  ...  257 

104.  Khasarpana  (Indian  Musuem)               ...  ...  259 

105.  Lokanatha— Mahoba  (Lucknow  Museum)  ...  258 

106.  Lokanatha  (Baroda  Museum)               ...  ...  259 

107.  Lokanatha  (Sarnath  Museum)              ...  ...  259 

108.  Lokanatha  (Nepal)                                 ...  ...  260 

109.  Halahala  (Nepal)          ...                       ...  ...  260 

110.  Padmanarttesvara  (Nepal)                     ...  ...  260 

111.  Padmanarttesvara  (Peiping)                   ...  ...  261 

112.  Padmanarttesvara  (Nepalese  drawing)...  ...  261 

113.  Harihariharivahana  (Nepalese  drawing)  ...  261 

114.  Trailokyavasahkara  (Peiping)                 ...  ...  262 

115.  Raktaiokesvara  (Peiping)                    ...  ...  262 


XXIII 

Fig.                                                   Names  Page 

116.  Ntlakantha  (Sarnath  Museum)            ...  ...  262 

117.  Sugatisandarsana  {Nepalese  drawing)  ...  ...  263 

118  Pretasantarpita  (Nepalese  drawing)  ...  263 

119.  Sukhavati  Lokesvara   (Nepal)              ...  ...  263 

120.  Vajradharma  (Nepalese  drawing)         ..  ...  264 

121.  Kurukulla  (Nepalese  drawing)              ...  ...  264 

122.  Kurukula  (Peiping)     ...                        ...  ...  264 

123  BhrkutI  (Peiping)         ...                        ...  ...  265 

124.  Gandarosana  (Nepalese  drawing)         ...  ...  265 

125.  Heruka  (Dacca  Museum)                     ...  ...  265 

126.  Buddhakapala    (Nepalese  drawing)     ...  ...  266 

127.  Buddhakapala   (Baroda  Museum)       ...  ...  266 

128.  Hayagrlva  (Nepalese  drawing)              ...  ...  266 

129.  Hayagrlva  (Peiping)     ...                        ...  ...  267 

130.  U cchus ma  Jambhala  (Sarnath  Museum)  ...  267 

131.  Vighnantaka  (Baroda  Museum)          ...  ...  267 

132.  Paramasva  (Nepalese  drawing)            ...  ...  268 

133.  Yogambara  (Peiping)  ...                         ...  ...  263 

134.  Kalacakra   (Nepalese  drawing)             ...  ...  268 

135.  Mahaclna  Tara  (Nepalese  drawing)     ...  -  269 

136.  Mahaclna  Tara  (Nepalese  drawing)    ...  ...  269 

137.  Jangul!  (Nepalese  drawing)                    ...  ...  269 

138  Ekajata   (Indian  Museum)                    ...  ...  270 

139.  Ekajata   (Nepalese  drawing)                 ...  ...  270 

140.  Parnasaban    (Indian  Museum)             ...  ...  270 

141.  Prajnaparamita   (Leiden,  Holland)     ...  ...  271 

142.  Prajnaparamita  (Indian  Museum)       ...  ...  271 

143.  Vajracarcika  (Nepalese  drawing)         ...  ...  271 

144.  Pratyangira  (Nepalese  drawing)             ...  ...  272 

145.  Pratyangira   (Nepalese  drawing)          ...  ...  272 

146.  Pratyafigira  (Nepal)     ...                       ...  ...  272 

147.  Dhvajigrakeyura  (Nepalese  drawing)...  ...  274 

148.  Nairatma   (Indian  Museum)  ...  274 

149.  Nairatma  (Vangiya  Sahitya  Parisat)    ...  ...  274 

150.  Vajravidaram  (Nepalese  miniature)     ...  ...  274 

151.  Namasahglti  (Nepal)   ...                        ...  ...  276 

152.  Astabhuja  MaricI  (Indian  Museum)  ...  ...  275 

153.  Astabhuja  MaricI  (Indian  Museum)  ...  ...  276 

154.  Astbhuja  MaricI  (Lucknow Museum)...  ...  276 

155.  Dasabhujasita  MaricI  (Nepalese  drawing)  ...  278 

156.  Usnlsavijaya  -(Indian  Museum)          ...  ...  277 


XXIV 

Fig*                                                   Names  Page 

157.  Usmsavijaya  (Nepalese  miniature)     ...  ...  278 

158.  Sitatapatra  Aparajita  (Nepalese  drawing)  ...  278 
J59.  Vajravarahi   (Nepalese  drawing)          ...  ...  279 

160.  Vajravarahi  (Baroda  Museum)            ...  ...  279 

161.  Cunda    (The  late  Mr.  W.  B.  Whitney)  ...  279 
162*  Cunda  (Nepalese  miniature)                ...  ...  280 

163.  Cunda  (Baroda  Museum)                     ...  ...  280 

164.  Cunda  (Bodh-Gaya)    ...                        ...  ...  280 

165.  Grahamatrka  (Nepalese  miniature)     ...                    ,   ...  282 

166.  Khadiravam  Tara — Mahoba  (Lucknow  Museum)       ...  281 

167.  Khadiravam  Tara  (Indian  Museum)  ...  ...  282 

168.  Khadiravam  Tara  (Baroda  Museum)  ...  ...  282 

169.  Mahasri  Tara  (Indian  Museum)          ...  ...  283 

170.  Vasyatara  (Nepalese  drawing)              ...  ...  284 

171.  Sadbhuja  Sitatara (Nepalese  drawing)...  ...  284 

172.  Dhanada  Tara  (Nepalese  drawing)      ...  ...  284 

173.  Parnasabarl  (Vikrampur,  Dacca)        ...  ...  285 

174.  Parnasabarl  (Vikrampur,  Dacca)         ...  ..  286 

175.  Vajrasrnkhala  (Nepalese  drawing)       .  ...  286 

176.  Jambhala   (Nepal)       ...                        ..  ...  286 

177.  Jambhala  (Vikrampur,  Dacca)              ...  ...  287 

178.  Jambhala  (Vikrampur,  Dacca)              ...  ...  288 

179.  Jambhala  Yab-yum  (Nepalese  drawing)  ...  288 

180.  Vajratara   (Indian  Museum)                ...  ...  288 

181.  Vajratara  (Orissa)      ...                        ...  ...  289 

182.  Vajratara  (Nepal)       ...                        ...  ...  289 

183.  Puspatara   Peiping      ...                        ...  ...  289 

184.  Mahapratisara  (Dacca  Sahitya  Parisat)  ...  290 

185.  Mahapratisara  (Dacca  Museum)         ...  ...  290 

186.  Vasudhara   (Nepalese  drawing)            ••  ...  290 

187.  Vasudhara  (Nepal)      ...                        ...  ...  291 

188.  Vasudhara  (Baroda  Museum)             ...  ...  291 

189.  Aparajita  (Nalanda  Museum)               ...  ...  291 

190.  Aparajita  (Indian  Museum)                  ...  ...  292 

19L  Vajrayogim  (Temple  at  Sahku)            ...  ...  292 

192.  Prasannatara  (Nepalese  drawing)        ...  ...  .292 

193.  Vajrapasi  (Peiping)     ...                       ...  ...  293 

194.  Vajrasphota  (Peiping)...                       ,..  ...  293 

195.  Vajrosnisa  (Peiping)   ...                       ...  ...  293 

196.  Mahapratisara  (Nepalese  miniature)  ...  ...  294 

197.  Mahasahasrapramardam  (Nepalese  miniature)  ...  294 


XXV 

Fig,                                                      Names  Page 

198.  Mahamantranusarim  (Nepalese  miniature)  ...  294 

199.  Mahasltavati   (Nepalese  miniature)  ...  ...  295 

200.  Mahamayuri  (Nepalese  miniature)  ...  ...  295 

201.  -  Mahattarl  Tara  (Nepal)  ...  ...  295 

202.  Vetall  (Peiping)  ...  ...  296 

203.  Ghasmarl  (Peiping)  ...  ...  296 

204.  Pukkasi  (Peiping)  ...  -•  296 

205.  Dombi  (Peiping)  ...  ...  353 

206.  Lasya  (Peiping)  ...  ...  353 

207.  Gita  (Peiping)  ...  ...  353 

208.  Nrtya  (Peiping)  ...  ...  354 

209.  Vina  (Peiping)  ...  ...  354 

210.  Mukunda  (Peiping)  ...  ...  354 

211.  Talika  (Peiping)  ...  ...  355 

212.  Kapata  (Peiping)  ..  ...  355 

213.  Dlpa  (Peiping)  ...  ...  355 

214.  Ratnolka  (Peiping)  ...  ...  356 

215.  Simhasya  (Dr.  Moghe's  Collection)  ..  ...  356 

216.  Simhasya,  upper  view  (Dr.  Moghe's  Collection)         ...  356 

217.  DSkinl  (Peiping)  ...  ...  357 

218.  Lama  (Nepalese  painting  in  colour)  ...  ...  376 

219.  Dhyana  Paramita  (Peiping)  ...  ...  357 

220.  Pnmidhana  Paramita  (Peiping)  ...  ...  357 

221.  Upapatti  Vasita  (Peiping)  ...  ...  358 

222  Rddhi  Vasita  (Peiping)  ...  ...  358 

223.  Dharmamegha  (Peiping)  ...  ...  358 

224.  Nirukti  Pratisaifavit  (Peiping)  ...  ...  359 

225.  Pratibhana  Pratisarhvit  (Peiping)  ..  ...  359 

226.  Mahakala  (Nepal)  ...  ...  359 

227.  Ganapati  (Dr.  Moghe's  Collection)  ...  ...  360 

228.  Ganapati  (Maharani  Chimanabai  Collection)  ...  360 

229.  Ganapatihrdaya  (Nepalese  miniature)...  ...  360 

230.  Mahasarasvati  (Nepalese  drawing)  ...  ...  369 

231.  Vajravlna  Sarasvatl  (Peiping)  ...  ...  369 

232.  Vajrasarada  (Nepalese  drawing)  ...  ...  369 

Z33.  Vajrasarada  (Nalanda  Museum)  ...  ...  370 

Z34.  Arya'Sarasvatl  (Nepalese  drawing)  ...  ...  370 

235.  Vajrasarasvati  (Nepalese  drawing)  ...  ...  370 

236.  Indra  (Peiping)  ...  ...  371 

237-  Agni  (Peiping)  ...  ...  371 

138.  Vayu  (Peiping)  ...  ...  371 


XXVI 


Fig.  Names  Page 

239.  Brahma  (Peiping)  ...  ...  372 

240.  Mahesvara  (Peiping)  ...  ...  372 

241.  Ganapati  (Peiping)  ...  ...  372 

242.  Rahu  (Peiping)  ...  ...  373 

243.  Ketu  (Peiping)  ...  ...  373 

244.  Navami  Tithi  (Peiping)  ...  ...  373 

245  Dasami  Tithi  (Peiping)  ...  ...  374 

246.  Tula  (Peiping)  ...  ...  374 

247.  Kumbha  (Peiping)  ...  ...  374 

248.  Mma  (Peiping)  ...  ...  375 

249.  Khadiravam  Tara  (Dacca  Museum)    ...  ...  375 


APPENDIX 

Eye-copy  of  paintings  in  the  Machhandar  Vahal, 
Kathmandu,  Nepal 

Fig.  Names  Page 

1(A).  Hayagriva  Lokesvara  ...  ...  401 

2(A).  Mojaghanjabala  (?)  Lokesvara  ...  ...  401 

3(A).  Halahala  Lokesvara  ...  ...  401 

4(A).  Harihariharivahana  Lokesvara  ...  ...  401 

5(A).  Mayajalakrama  Lokesvara  ...  ...  402 

6(A).  Sadaksan  Lokesvara  ...  ...  402 

7(A).  Anandadi  Lokesvara  ...  ...  402 

8(A)  Vasyadhikara  Lokesvara  ...  ...  402 

9(A).  Potapada  Lokesvara  ...  ...  403 

10(A).  Kamandalu  Lokesvara  ...  ...  403 

11(A).  Varadayaka  Lokesvara  ...  ...  403 

12 (A).  Jatamukuta  Lokesvara  ...  ...  403 

13(A).  Sukhavati  Lokesvara  ...  ...  404 

14(A)  Pretasantarpana  Lokesvara  ...  ...  404 

15(A).  Mayajalakramakrodha  Lokesvara  ...  ...  404 

16(A).  Sugatisandarsana  Lokesvara  ...  ...  404 

17(A),  Nilakantha  Lokesvara  ...  ...  405 

18(A),  Lokanatha-Raktaryyavalokitesvara  ...  405 

19(A),  Trailokyasandarsana  Lokesvara  ...  ...  405 

20(A).  Sirhhanatha  Lokesvara  ...  ...  405 

21  (A).  Khasarpana  Lokesvara  ...  ...  406 

22(A).  Manipadma  Lokesvara  ...  ...  406 

23(A).  Vajradharma  Lokesvara  ...  ...  406 

24(A).  Pupala  (?)  Lokesvara  ...  ...  406 

25(A).  Utnauti  (?)  Lokesvara  ...  ...  407 

26(A)*  Vrsnacana  Lokesvara  ...  ...  407 

27(A).  Brahmadanda  Lokesvara  ...  ...  407 

28(A).  Acata  (?)  Lokesvara  ...  ...  407 

29(A).  Mahavajrasattva  Lokesvara  ...                        ..  408 

30(A),  Visvahana  Lokesvara  ...  ...  408 

31(A).  Sakyabuddha  Lokesvara  ...  ...  408 

32(A).  Santasi  Lokesvara  ...  ...  408 


XXVIII 

Fig.  Names  Page 

33(A).  Yamadanda  Lokesvara  ...  ...  409 

34(A).  Vajrosmsa  Lokesvara  ...  ...  409 

35(A).  Vajrahuntika  (?)  Lokesvara  ..  ...  409 

36(  A) .  Jnanadhatu  Lokesvara  ...  ...  409 

37(A).  Karandavyuha   Lokesvara  ...  ...  410 

38(A).  Sarvanivaranaviskambhi  Lokesvara  ...  410 

39(A).  Sarvasokatamonirghata  Lokesvara  •  ...  410 

40(A).  Pratibhanakuta  Lokesvara  ...  ...  410 

4l(A).  Amrtaprabha  Lokesvara  ...  ...  411 

42(A).  Jaliniprabha  Lokesvara  ...  -      ...  411 

43(A).  Candraprabha  Lokesvara  ...  ...  411 

44(A).  Avalokita  Lokesvara  ...  ...  411 

45(A).  Vajragarbha  Lokesvara  ...  ...  412 

46(A).  Sagaramati  Lokesvara  ...  ...  412 

47(A).  Ratnapani  Lokesvara  ...  ...  412 

48(A).  Gaganaganja  Lokesvara  ...  ...  412 

49(A).  Akasagarbha  Lokesvara  ...  ...  413 

50(A),  Ksitigarbha  Lokesvara  ...  ...  413 

51  (A).  Aksayamati  Lokesvara  ...  ...  413 

52(A).  Srstikanta  Lokesvara  ...  ...  413 

53(A).  Samantabhadra  Lokesvara  ...  ...  414 

54(A).  Mahasahasrabhuja  Lokesvara  ...  ...  414 

55(A).  Maharatnaklrti  Lokesvara  ...  ...  414 

56(A).  Mahasankhanatha  Lokesvara  ...  ...  414 

57(A).  Mahasahasrasuryya  Lokesvara  ...  ...  415 

58(A).  Maharatnakula  Lokesvara  *..  ...  415 

59(A).  Mahapatala  Lokesvara  ...  ...  415 

60(AK  Mahamanjudatta  Lokesvara  ...  ...  415 

61(A).  Mahacandrabimba  Lokesvara  ...  ...  416 

62(A).  Mahasuryyabimba  Lokesvara  ...  ...  416 

63(A).  Maha-Abhayaphalada  Lokesvara     ...  ...  416 

64(A).  Maha-Abhayakarl  Lokesvara  ...  ...  416 

65(A)*  Mahamanjubhuta  Lokesvara  ...  ...  417 

66(A).  Mahavisvasuddha  Lokesvara  ...  ...  417 

67(A).  Mahavajradhatu  Lokesvara  ...  ...  417 

68(A).  Mahavajradhrk  Lokesvara  ...  ...  417 

69(A).  Mahavajrapani  Lokesvara  ...  ...  418 

70(A).  Mahavajranatha  Lokesvara  ...  ...  418 

71(A).  Amoghapasa  Lokesvara  ...  ...  418 

72(A).  Devadevata  Lokesvara  ...  ...  418 

73(A).  Pindapatra  Lokesvara  ...  ...  419 


XXIX 

Fig.  Names  Page 

74(A).  Sat  thavaha  Lokesvara  ...  ...  419 

75(A).  Ratnadala  Lokesvara  ...  ...  419 

76(A).  Visnupani  Lokesvara  ...  ...  419 

77(A).  Kamalacandra  Lokesvara  ...  ...  420 

78(A).  Vajrakhanda  Lokesvara  ...  ...  420 

79(A).  Acalaketu  Lokesvara  ...  ...  420 

80(A).  Sirisara(?)  Lokesvara  ...  ...  420 

8l(A).  Dharmacakra  Lokesvara  ..,  ...  421 

82(A).  Harivahana  Lokesvara  ...  ...  421 

83(A).  Sarasiri  (?)  Lokesvara  ...  ...  421 

84(A).  Harihara  Lokesvara  ...  ...  421 

85(A).  Simhanada  Lokesvara  ...  ...  422 

86(A).  Visvavajra  Lokesvara  ...  ...  422 

87(A).  Amitabha  Lokesvara  ...  ...  422 

88(A).  Vajrasattvadhatu  Lokesvara  ...  ...  422 

89(A).  Visvabhuta  Lokesvara  ...  ...  423 

90(A).  Dharmadhatu  Lokesvara  ...  ...  423 

91(A).  Vajradhatu  Lokesvara  ...  ...  423 

92(A).  Sakyabuddha  Lokesvara  ...  ...  423 

93(A).  Cittadhatu  Lokesvara  ...  ...  424 

94(A).  Cintamani  Lokesvara  ...  ...  424 

95^AK  Santamati  Lokesvara  ...  ...  424 

96(A).  Manjunatha  Lokesvara  ...  ...  424 

97(A).  Visnucakra  Lokesvara  ...  ..  425 

98(AK  Krtanjali  Lokesvara  ...  ...  425 

99(A).  Visnukanta  Lokesvara  ...  ...  425 

100(A).  Vajrasrsta  Lokesvara  ...  ...  425 

101(A).  oankhanatha  Lokesvara  ...  ...  426 

102(A).  Vidyapati  Lokesvara  ...  ...  426 

103(A).  Nityanatha  Lokesvara  ...  ...  426 

104(A).  Padmapani  Lokesvara  ...  ...  426 

105(A).  Vajraparii  Lokesvara  ...  ...  427 

106(AK  Mahasthamaprapta  Lokesvara        ...  ...  427 

107(A).  Vajranatha  Lokesvara  ...  ...  427 

108(A).  £nmad-Aryyavalokitesvara  ...  ...  427 


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3.  The  Mathura  School  of  Sculpture'  contributed  to  the  ASI, 
Annual  Report,  1906—7,  pp.  137-160. 

Waddell  (  L.  A.  )  The  Indian  Buddhist  Cult  of  Avalokita  and  his 
Consort  Tara,  the  'Saviouress5  illustrated  from  the  remains  of 
Magadha'  JRAS,  1898. 

2.    The  Buddhism  of  Tibet  or  Lamaism,    London,  1895, 
Wright  (D)— History  of  Nepal,    Cambridge,  1877. 


ERRATA 


Page 

Line  or  Fig. 

For 

Read 

VIII 

6  and  23 

Clarke 

Clark 

7 

27 

Budhhism 

Buddhism 

9 

n.      3 

jayote 

jayate 

15 

23 

willread 

will  read 

17 

3 

inVajrayog:ni 

In  Vajrayogini 

18 

33 

Siddhis 

Siddhis  was 

18 

34 

In  the 

The 

20 

31 

confees 

confess 

23 

19 

withe  th 

with  the 

26 

15 

lamp 

lump 

27 

36 

become 

becomes 

28 

32 

moniscience 

omniscience 

32 

12 

here  in 

herein 

33 

Fig.    2 

Bodhi  Tree 

Bodhi  Tree 

(Amaravati) 

(Sanchi) 

43 

3 

Asia 

India 

63 

Fig.  30 

Vajradhatu 

Vajradhatu 

75 

5 

Yub-yum 

Yab-yum 

80 

last 

has 

has  this 

109 

Fig.  71 

Sarvapayanjaha 

Sarvapayanjaha 

(Peiping) 

134 

n.       1 

Calrk 

Clark 

154 

1 

CHAPTER  V 

CHAPTER  VI 

181 

15 

Siva 

Siva 

185 

9 

Vahana 

Vahana  — 

219 

1 

VASYA 

VAS"YA 

227 

23 

Companion 

Companions 

229 

24 

VASYATARA 

VASYATARA 

295 

Fig.  199 

Mahasitavatl 

Mahasitavati 

359 

Fig.  226 

Mahakala 

MahakSla 

(Peiping) 

(Nepal) 

400 

15 

Mahapatala 

Mahapatala 

415 

Fig.  59  (A) 

Mahapatala 

Mahapatala 

429 

37 

88.  Vrjrasattvadhatu 

88.  Vajrasattvadhatu 

Introduction 

1.     Materials  for  the  study  of  Buddhist  Iconography. 

All  the  three  great  religious  systems  of  India,  Hinduism,  Buddhism 
and  Jainism  developed  well-filled  pantheons,  and  it  is  not  always  easy 
to  decide  to  which  of  these  three  systems  a  particular  image  should  be 
assigned.  The  importance  of  the  study  of  iconography,  which  prima* 
rily  concerns  itself  with  the  proper  recognition  of  images  thus  becomes 
apparent. 

The  difficulties  of  the  investigator  are  increased  by  the  fact  that  a 
free  and  frequent  interchange  of  deities  took  place  among  the  three 
religious  systems.  Such  Hindu  deities  as  Parvatl,  Indra,  LaksmI, 
Sarasvatl  are  to  be  found  among  the  Jaina.s.  The  Hindus,  on  the  other 
hand,  have  borrowed  goddesses  like  Mahaclnatara,  Jangull,  Vajrayogini 
from  the  Buddhist  pantheon  and  incorporated  them  into  their  own 
under  the  names  of  Tara,  Manasa  and  Chinnamasta  respectively.  Thus 
there  is  evidence  that  a  free  interchange  of  deities  actually  took  place 
at  the  verv  outset  of  Buddhism  and  Jainism  as  in  the  more  promiscuous 
Tantru  age.  The  Jainas  and  the  Buddhists  alike  borrowed  Hindu 
gods  in  their  earlier  stages,  but  in  the  Tantric  age  Buddhist  gods  were 
commonly  exploited. 

The  problem  of  correct  identification  of  images,  therefore,  presents 
a  real   difficulty   which  ureat   scholars  have  more   than  once  attempted 
to  solve.     Scholars   of  all     countries,    notably    Waddell,    Grunwedel, 
Foucher,  Burgess,  Getty,  Coomiraswamy,    Bhattasali,  Rakhaldas  Banerji 
and    many   others,   have   written   useful   and  authoritative  works,   and 
collected    together  a  considerable  amount  of  information   on    Buddhist 
iconography.  It  is  unfortunate,  however,  that  the  pantheon  of  the  Indian 
Vajrayanists   who  were   mainly  responsible  in  building  it  up   has  so  far 
been    more  or    less   neglected      Getty  and  Deniker's  'Qods   of  Northern 
Buddhism9,  although  a    masterpiece,  deals    only  with  Tibetan,  Chinese 
and   Japane.se  gods   but  the   purely  Indian   gods  seem   to  have  attracted 
little   notice  from   them.     It  was    Professor  Foucher  who  by  the   publi* 
cation  of  his   'Eludes    sur   /'  loniogrciphi?   Bouddhique  de  L'  Inde*  in  two 
parts   published  as  early  as   1900  and    1905,  first  drew  the  attention  of 
scholars  to  this  rich   field  of  research.    His  curiosity  was  roused  by  a 
stuoy  of  the  miniatures  appearing   on  such  Buddhist  manuscripts  as  the 
Prajnaparamita,   and  then   he  made  a  systematic  attempt  to  identify  the 
sculptures.     For  the  purpose  of  recognising   images  he  hunted   out  a 


2  INTRODUCTION 

number  of  Sadhanas  from  the  manuscripts  of  Sadhanamala,  and  he 
was  surprised  to  find  that  the  images  tallied  most  remarkably  with  the 
descriptions  given  in  the  unpublished  text  of  the  Tantric  manuscript. 
Again,  the  images  and  sculptures  supplied  interesting  details  such  as 
were  not  available  in  the  Sadhana.  Thus  the  Sadhana  and  the  image 
mutually  enlightened  each  other.  Professor  Foucher's  second  volume 
embodies  a  critical,  although  partial,  study  of  the  Sadhanamala  and  it 
was  this  book  that  first  emphasized  the  necessity  of  referring  to  a 
Sadhana  in  order  to  make  or  justify  any  single  identification  of  a  Buddhist 
image.  When  the  present  author  was  studying  at  the  feet  of  the  illus- 
trious savant,  Professor  Foucher,  at  the  Indian  Museum,  Calcutta,  he 
was  advised  to  edit  and  study  the  different  recensions  of  the 
Sadhanamala  before  proceeding  with  the  delicate  art  of  identification  of 
Buddhist  deities. 

j    The  Sadhanamala  is   thus  the  most  valuable_jm^i^ 
Buddhist  iconograph^aot  only  because  it  records  the  latest  advances 
in  psychic  research  of  the  Vajrayana  Buddhists,  but  also  because  it  was 
a  product   of  a   period  when    Buddhism  was   about  to    be  destroyed   in 
Bengal  due  to   Mussalman  invasion.     This  standard  work  on  Buddhist 
iconography  has  been  published  in  two  volumes  as   Nos.  26  and  41    of 
the  Qaekwad's   Oriental  Series  with  an  elaborate  introduction  dealing 
with  the  text  and  the  various  problems  raised  therein. 
The  edition    of  the    Sadhanamala   comprises^  3  1  2 


^ 

contains^d£scrij>tions  of  i^umerQus_Buddhist  deities*  All  new  Sadhanas 
found  in  a  different  collection  called  the  Sadhanasamuccaya  have  been 
carefully  incorporated  in  their  appropriate  places  in  the  present  edition, 
which  may  very  well  represent  a  Vade  Mecum  of  the  Sadhana  literature 
of  the  Buddhists.  The  Sadhanamalanot  only  gives  valuable  details 
regarding  the  deities,  b^^jJtud^  historical 

perio4r  the  Tantric  philosophy, 


and  its  psychic  exercises,  and  on  authors,  Siddhas,  Mantras,  Mandalas,and 
magic  as  prevalent  among  the  Buddhists.  The  special  .form  of  Buddhism 
which  developed  in  the  Tantric  period  is  called  the  Vajrayana,  and  the 
Sadhanamala  throws  a  great  deal  of  light  on  this  obscure  path  of  Bud- 
dhism which  was  current  in  India  from  the  7th  to  the  13th  century  A.D. 
TKe  Sadhanamala  does  not  however  exhaust  the  material  for  the 
study  of  Indian  Buddhist  Iconography,  One  of  the  Sadhanamala  Mss. 
is  dated  ir  the  Newari  Era  285  corresponding  to  A.D.  1165,  and  there- 
fore, this  work  is  not  expected  to  record  all  the  developments  that 
took  place  after  1165  A.  D.  Many  of  the  later  developments  are 
found  incorporated  in  the  work  entitled  the  Dharmakosasangraha^  of 
Amrtananda  who  was  the  Residency  Pandit  when  B.  Hodgson  was  the 


INTRODUCTION  3 

Resident  of  Nepal.  A  manuscript  of  this  work  is  preserved  in  the 
Durbar  Library  of  Nepal,  and  there  is  also  a  copy  of  the  original, 
preserved  in  the  Royal  Asiatic  Society  of  Bengal  in  the  Government 
Collection.  Amrtananda's  work  is  not  published. 

Besides  Amrtananda's  work  there  are  others  more  ancient  and  capable 
of  supplying  much  iconographic  material.  One  such  work  is  the 
Nispannayogavali  of  Mahapandita  Abhayakara  Gupta  of  the  Vikrama- 
stla  monastery  who  flourished  during  the  reign  of  the  Pala  King  Rama- 
pafa  (  A.D.  1084-1130  ).  This  valuable  work  is  now  published  in  the 
Qaekwad's  Oriental  Series  as  No.  109  with  an  elaborate  introduction  and 
a  full  summary  of  its  contents 

The  Nispannayogavali  is  a  work  on  Mandalas  and  is  remarkable  for 
its  richness  of  information  and  brevity.  It  contains  in  all  26  Mandalas 
in  twenty-six  chapters,  some  short,  some  long.  All  these  Mandalas 
describe  innumerable  deities  of  the  Tantra  cult.  A  large  number  pf 
these  descriptions  is  absolutely  original,  Tiighly  interesting  and  informa- 
tive. Many  of  the  names  and  forms  which  were  altogether  lost,  are 
published  here  for  the  first  time.  Many  of  the  deities  described 
accurately  in  the  work  are  not  to  be  found  anywhere  in  printed 
literature.  The  Nispannayogavali  thus  presents  a  unique,  original,  useful 
and  most  valuable  information  which  constitutes  our  most  authentic 
material  for  the  study  of  the  images  and  deities  belonging  to  the 
Buddhist  pantheon.  Nispannayogavali  outbeats  Sadhanamala  since 
the  material  presented  here  is  more  varied,  more  extensive  and  more 
prolific. 

What  service  this  Nispannayogavali  can  render  to  Buddhism  may  be 
illustrated  by  a  reference  to  the  several  hundreds  of  images  of  Buddhist 
deities  discovered  in  the  Forbidden  City  of  Peiping  in  Manchuiia.  In 
July  1926  Stael  Holstem  the  Russian  archaeologist  received  permission  to 
visit  a  number  of  Lama  temples  situated  in  Peiping  which  seem  to  have 
been  neglected  for  a  long  time.  In  the  upper  storey  of  one  of  these 
temples  he  found  a  collection  of  bronze  statuettes  constituting  a 
Lamaist  Pantheon  which  had  consisted  originally  of  787  figures.  These 
figures  along  wuh  a  series  of  photographs  from  three  manuscripts 
written  in  Chinese  were  studied  "by  the  famous  American  Professor 
Walter  Eugene  Clark,  Wales  Professor  of  Sanskrit  in  the  Harvard 
University,  and  he  published  this  rich  material  in  two  sumptuous 
volumes,  entitled,  the  Two  Lamai&ic  Pantheons  in  the  Harvard  Yenching 
Institute  Monograph  Series  in  the  year  1937.  The  first  volume  contains 
an  introduction,  bibliography  and  indexes  of  deities  in  Sanskrit,  Tibetan 
and  Chinese.  The  second  volume  contains  illustrations  of  innumerable 
deities. 


4  INTRODUCTION 

These  illustrations  are  of  the  utmost  importance  for  the  study  of 
the  Buddhist  pantheon  not  only  of  China  but  also  of  India,  Nepal  and 
Tibet.  The  original  images  bear  inscriptions  in  Chinese  and  sometimes 
in  Tibetan  and  other  languages,  and  the  learned  editor  took  great  pains 
in  restoring  their  original  Sanskrit  names.  A  large  number  of  these 
names  derived  from  Chinese  sources  is  found  in  the  Nispannayogavall 
with  their  full  iconographic  descriptions.  Thus  the  Nispannayogavall 
provides  the  much  needed  descriptive  texts  which  served  as  a  basis  for 
the  artists  to  prepare  the  statuettes  found  in  China.  Since  this  book 
Nispannayogavall  gives  full  iconographic  descriptions  of  most  of  these 
deities  it  is  not  unreasonable  to  suppose  that  the  Nispannayogavall 
formed  at  least  one  of  the  originals  from  which  the  artists  obtained  the 
correct  idea  of  the  form  of  the  numerous  deities  represented  in  the 
statuettes.  Otherwise  it  is  difficult  to  conceive  how  form  can  be  given 
to  such  obscure  deities  as  the  Sixteen  Boddhisattvas,  the  Twelve  Para- 
mitas,  the  Twelve  Vasitas,  the  Twelve  Bhumis,  the  Four  Pratisamvits, 
etc.  which  are  described  accurately  in  the  Manjuvajra  Mandala  of  the 
Nispannayogavall.  It  is  simply  imposible  to  prepare  images  of  these 
deities  without  the  help  of  descriptions  as  given  by  Abhayakaragupta. 
The  volume  of  information  given  in  the  Nispannayogavall  of  Abhayakara- 
gupta is  so  great  that  an  independent  book  is  required  to  deal  with  them 
exhaustively. 

Besides  the  above  mentioned  Nispannayogavall,  there  are  numerous 
Tantric  texts  which  furnish  considerable  material  for  the  study  of 
Buddhist  iconography  of  the  Tantric  period  with  which  this  work 
primarily  concerns  itself.  Some  of  the  more  important  materials  can 
be  found  in  the  original  Tantra  works  such  as  the  Heruka  and  the 
Hevajra  Tantras,  Candamaharosana  Tantra,  Vajravarahi  Tantra, 
Kriyasamuccaya,  Vajravali  nama  Mandalopayika,  Yoginijala  Tantra 
Abhidhanottra  Tantra  and  many  others  The  list  of  such  original 
Tantras  furnishing  valuable  information  on  Buddhist  deities  can  by  no 
means  be  exhausted.  The  works  above  mentioned  are  all  unpublished, 
and  their  handwritten  copies  can  be  found  in  the  manuscript  libraries 
such  as  the  Durbar  Library,  Nepal;  Asiatic  Society's  Library,  Bengal; 
University  Library,  Cambridge;  Musee  Guimet,  Paris;  and  the  Russian 
Academy  of  Sciences  in  Leningrad.  Numerous  such  manuscripts  are 
also  to  be  found  in  the  hundreds  of  Buddhist  monasteries  of  Nepal  at 
Kathmandu,  Pattan  and  Bhatgaon.  Thus  there  is  still  an  inexhaustive 
field  for  research  and  original  work  in  Buddhist  iconography  alone 
It  is  a  pity  that  these  valuable  and  original  source  books  of  Buddhism 
should  remain  unpublished  in  this  country,  and  sooner  attention  is 
drawn  to  this  field  of  work,  the  better  it  will  be  for  the  history  of  our 


INTRODUCTION  5 

cultural  past.  It  is  a  matter  of  deep  regret  that  even  tx>day  there  are 
lakhs  of  handwritten  manuscripts  in  India  in  private  houses,  and  no 
effort  is  being  made  to  collect  or  preserve  them.  Thus  these  valuable 
source  books  of  Indian  history  and  culture  are  allowed  to  perish  in 
India.  Sanskrit  being  the  most  important  member  of  the  Indo-European 
family  of  languages  is  world  property  to-day,  and  it  is  the  duty  of  every 
scholar  in  the  world  to  see  that  this  precious  heritage  is  not  allowed 
to  be  dissipated  in  an  irresponsible  manner. 

There  is  another  class  of  manuscripts  which  bears  miniatures  and 
paintings  of  Buddhist  gods  and  goddesses.  The  different  recensions  of 
the  Prajnaparamita  and  Pancaraksa  bear  miniature  paintings  on  them. 
Illuminated  manuscripts  of  the  Karandavyuha  and  Bodhicaryavatara  are 
also  not  unknown.  The  Pancaraksa  manuscripts  are  to  be  found 
almost  in  every  Buddhist  house  in  Nepal,  they  bear  different  sets  of 
miniatures,  and  are  calculated  to  serve  many  household  purposes.  Holy 
books  are  illuminated  with  miniatures  in  order  that  they  may  be  treated 
with  respect  by  others,  and  in  order  that  their  sanctity  may  be  increased 
and  preserved. 

By  far  the  most  important  material  for  .the  study  of  Buddhist 
iconography  is  represented  by  sculptures,  bronzes,  metal  images  and 
miniatures.  The  earlier  phases  of  Buddhism  are  more  or  less  free  from 
the. representations  of  gods  and  goddesses.  But  scenes  from  Buddha's 
life,  and  Jataka  stories  were  given  preference  in  the  earlier  Buddhism. 
Such  scenes  and  stories  are  found  represented  in  stone  at  Sanchi, 
Bharhut,  Amaravati  and  also  in  the  Gandhara  school.  According  to 
Professor  Foucher  the  first  image  of  the  Buddha  was  fashioned  in  the 
Gandhara  school  of  art.(*)  Sculptures  of  Bodhisattvas  and  Hindu  gods 
are  not  rare  in  this  school.  The  sculpture  remains  at  Amaravati  are 
contemporaneous  with  those  of  the  Gandhara  school.  The  Mathura 
school  followed  closely  and  then  came  the  sculptures  of  Sarnath, 
Magadha,  Bengal,  Orissa,  Java  and  Nepal  in  the  Tantric  age.  The 
paintings  at  Ajanta  begin  from  the  first  century  A.D.  and  the  sculptures 
of  Ellora  and  many  other  places,  Buddhist  cave  temples  of  Southern 
and  Northern  India  show  the  influence  of  immature  Tantra  on  them. 
Sculptures  produced  in  the  earlier  schools  have  received  ample  atten- 
tion of  great  scholars,  but  images  belonging  to  the  Tantric  and  post- 
Tantric  periods  and  profoundly  influenced  by  the  Tantras  have  not 
been  so  fortunate.  The  excavations  at  Sarnath,  Nalanda,  Kurkihar 
have  brought  to  light  a  large  number  of  images  of  Buddhist  gods  and 
goddesses  belonging  to  the  Tantra  school,  and  it  may  be  reasonably 
expected  that  the  old  strongholds  of  Tantric  learning  such  as  Odanta- 

(1)  Foucher  :  Beginnings  of  Buddhist  Art  and  other  essays,  p.  1 17. 


6  INTRODUCTION 

puri,  Vikramaslla,  Nalanda,  Sarnath  and  Jagaddala  monasteries  will 
prove  no  less  fruitful  in  this  respect.  The  museums  of  Eastern  India 
such  as  Sarnath,  Patna,  Calcutta,  Dacca,  Rajshahi,  Mayurbhanj, 
Khiching  and  few  others  contain  numerous  metal  images  and  sculptures 
belonging  to  the  Tantric  cult.  That  Bengal  in  the  pre-Muhammadan 
period  was  practically  Buddhist  is  made  obvious  by  the  fact  that  the 
worship  of  Dharma  and  Manjughosa  still  prevails  there,  and  that  nu- 
merous Buddhist  sculptures  are,  being  constantly  discovered  throughout 
the  length  and  breadth  of  the  province.  It  is  needless  to  add  that  the 
Buddhist  images  discovered  in  Bengal,  Bihar  and  Assam  are  mostly  the 
product  of  the  Tantric  school  of  the  Buddhists. 

The  wealth  of  sculptural  and  bronze  remains  in  Nepal  has  not  yet 
received  the  attention  it  deserved.  Nepal  is  the  only  country  which 
abounds  in  rich  material  for  the  study  of  Buddhist  iconography,  and 
in  Nepal  Buddhism  can  be  studied  as  a  living  religion.  Some  of  the 
Buddhist  monasteries  at  Pattan  are  so  rich  in  images  that  they  can  be 
said  to  constitute  small  museums  by  themselves.  The  stupa  of  Bodh- 
nath  alone  contains  no  less  than  a  hundred  and  eight  sculptures  execut- 
ed in  a  neat  manner.  Occasional  images  of  Guru  Padmasambhava 
in  the  peculiar  Tibetan  technique  and  costume  bespeak  the  Tibetan 
character  of  the  temple.  Forty-seven  images  in  this  famous  temple  are 
represented  in  Yab-yum  and  the  rest  are  single.  About  ten  of  th<»  single 
images  depict  the  Siddhas  of  Tibet  such  as  Mila-ras-pa,  Mar-pa, 
Padmasambhava,  Naro-pa  and  others.  Although  Tibetan  in  character 
the  temple  contains  nevertheless  some  of  the  purely  Indian  gods  of  the 
Vajrayana  pantheon,  such  as  Sadaksarl  Lokesvara,  Vak,  Heruka, 
Yamantaka  and  a  few  others.  An  old  Tibetan  tradition  declares  that 
in  the  matter  of  art  Bengal  comes  first,  Nepal  second  while  the  Tibetan 
and  Chinese  are  the  worst. 

At  Simbhu  in  Nepal  one  can  witness  the  grandeur  of  an  excellent 
Buddhist  museum  where  the  finest  specimens  of  Buddhist  sculptures 
are  preserved  round  about  the  Stupa  itself  and  in  the  surroundings.  At 
the  Maccharidar  Vahal  or  the  temple  of  Matsyendranatha  the  great 
Natha  Yogin,  there  can  be  found  108  different  forms  of  Avalokitesvara 
painted  on  a  running  panel  in  colour.1  Images  and  forms  of  deities 
that  are  not  available  in  India  are  to  be  found  in  plenty  in  the  Buddhist 
monasteries  in  Nepal.  Anywhere  in  Nepal  round  a  central  stupa  tiers 
of  small  chapels  rising  from  the  ground  to  the  top  are  found  to  contain 
first  class  artistic  specimens  of  Buddhist  gods  and  goddesses.  In 
monasteries  which  are  run  by  courteous  and  learned  Tantric  monks 
one  can  find  quite  a  number  of  images,  sculptures,  bronzes,  paintings 


(1)  These  108  forms  tre  illustrated  in  the  Appendix  at  the  end  of  this  volume 


INTRODUCTION  7 

and  illuminated  manuscripts.  It  is  possible  to  have  an  idea  of  the 
enormous  wealth  of  cultural  remains  in  Nepal,  when  it  is  remembered 
that  the  number  of  monasteries  at  Kathmandu  alone  exceeds  five 
hundred. 

In  Nepal,  interesting  material  for  the  study  of  Buddhist  iconography 
is  obtained  from  an  entirely  unexpected  quarter.  There  is  a  class  of 
people  called  the  Citrakaras  or  professional  artists.  They  are  so 
proficient  in  their  art  that  they  can  produce  an  excellent  drawing  of 
any  Buddhist  deity  in  a  few  minutes.  These  artists  seem  to  have  a 
phenomenal  memory  with  regard  to  the  iconographic  details  such  as 
the  number  of  faces  and  hands,  the  pose,  the  symbols,  the  weapons  and 
the  parental  Dhyani  Buddha.  They  prepare  such  drawings  in  the 
presence  of  the  customer  without  ever  referring  to  a  book  or  painted 
specimen,  although  at  home  they  keep  albums  full  of  drawings  in  black 
and  white  and  paintings  in  colour  all  relating  to  Buddhist  deities.  The 
specimens  obtained  from  a  gifted  Citrakara  named  Virman  are  repro- 
duced in  the  body  of  the  book  in  large  numbers.  All  line  drawings, 
barring  the  twenty- four  Bodhisattvas,  reproduced  in  this  volume  are 
from  his  drawings  in  black  and  white. 

The  above  is  a  short  survey  of  materials  of  different  kinds  that  are 
available  to  the  student  of  Buddhist  iconography.  It  may  be  noticed 
that  the  images,  sculptures,  bronzes,  drawings,  miniatures,  and  the 
gods  and  goddesses  represented  by  these,  together  with  the  literature 
explaining  them,  all  belong  to  the  Tantric  mode  of  thought  and 
culture.  They  are  brought  together  under  the  comprehensive  term 
of  Vajrayana  or  the  "Adamantine  Vehicle".  It  leads  therefore  to  a  con- 
sideration of  that  form  of  Budhhism  which  is  well  known  as  Vajrayana, 


8  INTRODUCTION 

2.     Vajrayana  Mysticism. 

Both  the  Hindus  and  the  Buddhists  were  alike  prolific  writers  on 
the  Tantras  and  the  literature  extant  on  them  is  wonderfully  extensive. 
One  of  the  reasons  why  the  word  Tantra  cannot  be  defined  is  that  the 
Tantra  comprises  an  astounding  number  of  subjects  along  with  its  own 
numerous  sub-divisions.  Whatever  was  best,  whatever  was  ennobling 
and  whatever  was  beautiful  in  India  were  all  incorporated  in  the 
Tantra.  Tantric  literature  contributes  a  great  deal  to  such  sciences  as 
astronomy,  astrology,  medicine,  alchemy,  chiromancy,  horoscopy,  divi^ 
nation,  prognosis,  Yoga  and  Hathayoga.  The  Tantra  is  an  admixture 
of  religion,  philosophy,  science,  superstition,  dogmas,  psychic  exercises 
and  mysticism.  In  this  wonderful  literature  is  locked  up  much  of  the 
cultural  history  of  India,  and  when  this  literature  is  intensively  studied, 
it  will  reveal  a  great  deal  of  India's  past  history  and  culture,  particularly 
for  the  period  between  the  7th  century  A.  D.  right  upto  the  Muham- 
madan  conquest.  It  may  here  be  mentioned  that  the  Tantras,  inspite 
of  all  their  faults,  are  peculiarly  Indian  and  represent  India's  contribu^ 
tion  to  world  culture.  A  literature  of  this  kind  is  not  found  in  the 
history  and  civilization  of  any  other  country  in  the  world. 

To  understand  the  rise  of  Vajrayana  it  is  necessary  to  go  back  to 
the  original  teachings  of  the  Buddha.  Lord  Buddha  prescribed 
Yanas  in  the  beginning,  namely,  the  Sravakayana  ancL  the 
buddhayana.  The  Srtvakas  were  to  near  IFom  a  Buddha  but  they  had  to 
wait  till  the  advent  of  another  Buddha  for  their  emancipation.  In  the 
meanwhile  the  Sravakas  could  teach,  but  they  could  neither  attain 
Nirvana  themselves  nor  help  others  to  attain  it.  The  Pratyekas  were 
eminent  men  ;  they  could  attain  Nirvana  by  their  own  efforts,  without 
the  help  of  a  Buddha  but  they  could  not  impart  Nirvana  to  others. 

Buddhism  continued  in  this  state  till  the  rise  of  the  Mahayana  pro- 
perly called,  the  Bodhisattvayana.\  The  Mahay  anists  dismissed  the 
previous  Yanas  with  the  contemptuous  epithet  of  Hinayana.  They 
claimed  that  they  could  not  only  attain  Nirvana,  nay  even  Buddhahood, 
with  their  own  unaided  efforts,  but  could  also  help  others  to  attain 
these  ideals.  The  distinction  between  Mahayana  and  Hinayana  is 
graphically  described  in  the  earliest  work,  the  Mahay anasutralankara, 
attributed  to  the  famous  Buddhist  sage  Asahga. 

Thus  there  were  three  Yanas  in  Buddhism  about  300  A.  D.  which 
may  approximatelv  be  taken  as  the  time  of  Asahga.  But  against  these 
three  Yanas  there  were  four  schools  of  philosophy  in  Buddhism, 
namely,  the  Sarvastivada  (Sautrantika),  the  Vahyarthabhaiiga  (Vai* 
bhasika),  the  Vijnanavada  (Yogacara),  and  therSunyavada  (Madhya- 


INTRODUCTION  9 

maka).  How  these  four  systems  of  philosophy  were  distributed 
amongst  the  three  Yanas  is  one  of  the  vital  questions  of  Buddhism. 
The  Tattvaratna vail  of  Advayavajra  (12th  century  A.  D.)  answers  this 
question  in  a  praiseworthy  manner.  According  to  this  authority 
"Three  are  the  Yanas,  Sravakayana,  Pratyekayana  and  Mahayana. 
There  are  four  theories;  Vaibhasika,  Sautrantika,  Yogacara  and 
Madhyamaka.  Sravakayana  and  Pratyekayana  are  explained  by  the 
theories  of  the  Vaibhasikas.  Mahayana  is  of  two  kinds  :  Paramitanaya 
and  Mantranaya.  Paramitanaya  is  explained  by  the  theories  either  of 
Sautrantika,  Yogacara  or  Madhyamaka.  Mantranaya  is  explained  by 
the  theories  of  Yogacara  and  Madhyamaka  only".  l 

Thus^  Mantranayacomilieuges  with  the  most  abstruse  theories  of 
Sunyavada  and  Vijnanavada.  Advayavajra  in  one  place  says, — "Mant- 
ranaya is  very  abstruse.  It  concerns  men  who  seek  emancipation  by 
deep  and  solemn  methods.  It  is  also  very  extensive  owing  to  the 
understanding  of  such  theories  as  the  four  symbolic  representations. 
Therefore,  the  author  is  not  fit  to  explain  it".  -  Advayavajra  cites 
for  his  authority  a  statement  which  says  that  the  Mantrasastra  trans- 
cends all  other  Sastras,  because  though  the  Sastras  have  the  same 
common  object  there  is  no  fear  of  ignorance  here.  The  means  are 
many  and  the  end  not  difficult  of  attainment  by  men  whose  senses  are 
sharpened  to  the  highest  degree.  Advayavajra  in  his  Sekanirnaya 
accepts  the  Mahasukha  theorv,  dilates  upon  the  various  stages  of  the 
Mahasukha  which  according  to  him  is  not  possible  of  attainment  with- 
out the  Sakti  the  embodiment  of  Karuna.  :? 

It  is  hardly  necessary  now  to  state  that  the  Buddhism  of  the  Lord 
Buddha  found  entirely  different  expressions  as  time  passed  from  century 
to  century,  so  much  so,  that  even  if  Buddha  is  reborn,  he  will  not  be 
able  to  recognize  Vajrayana  or  the  Buddhist  Tantra  as  his  own  handi* 
craft.  Though  the  Buddha  was  antagonistic  to  all  sorts  of  sacrifices, 
sorcery,  necromancy  or  magic,  he  nevertheless  is  credited  by  some  later 
authorities  with  having  given  instructions  on  Madras,  Mandalas,  Yoga 
and  Tantra,  so  that  prosperity  in  this  world  could  be  attained  by  his 
less  advanced  disciples  who  seemed  to  care  more  for  this  world  than  for 
the  Nirvana  preached  by  him.  *  India  in  Buddha's  time  w^s  such  that 
any  religion  which  dared  forbid  all  kinds  of  magical  practices,  could 
hardly  be  popular.  A  clever  organiser  as  the  Buddha  was,  he  did  not 
fail  to  notice  the  importance  of  incorporating  magical  practices  in  his 
religion  to  make  it  popular  from  all  points  of  view.  The  Tantras  and 

1.  Adv.  p.  14  2.  Adv.  p.  21  3.  Adv.  p.  28  4.  Tattvasangraha  of  santaraksita 
"Taduktamantrayogadiniyamad  Vidhivat  Krtat.  Prajnarogyavibhutvadidrstadharmo- 
pi  jayote.  Sloka  3487 


10  INTRODUCTION 

Mantras  were  all  there  in  the  time  of  the  Buddha,  but  unfortunately,  we 
do  not  possess  any  connected  account  of  them  except  a  few  works  on 
the  Dharanis  in  which  the  Chinese  were  interested  in  the  beginning  of 
the  Christian  era.  These  Dharanis  are  only  unmeaning  strings  of  words 
which  are  said  to  confer  great  merit  when  mutterred  repeatedly  for  a 
number  of  times.  Then  comes  the  worship  of  Buddha  in  the  Prajna- 
paramita with  all  the  paraphernalia  of  worship  such  as  are  found  in  the 
Tantras.  Then  follow  the  different  recensions  of  the  Prajnaparamita,  its 
sutra,  hrdayasutra,  its  Dharam  and  Mantra  the  recitation  of  all  of 
which  confers  the  benefit  of  reading  the  whole  of  the  Prajnaparamita 
scripture.  This  is  a  very  old  work  and  was  translated  into  Chinese  in 
the  second  century.  A.  D.  The  Manjusrimulakalpa  appears  to  be  a  pro- 
duct of  the  same  period  and  is  full  of  deities,  mudras,  mandalas 
and  Tantric  practices,  which  became  systematized  in  the  Guhyasamaja 
Tantra  in  circa  300  A.  D. 

The  Buddhist  Tantras  belong  undoubtedly  to  Mahayana  although 
it  is  quite  possible  to  infer  the  presence  of  magical  practices  amongst 
the  followers  of  the  early  Buddhism. l  The  Tantras  were  a  development 
of  the  Yogacara  which  was  inspired  by  the  Sunyavada  of  the  Madhya- 
makas.  Vajrayana  marks  a  step  in  advance  even  of  the  Yogacara 
thought. 

The  Mahayana  in  the  opinion  of  the  Vajrayanists  is  coextensive 
with  what  they  called  Dharma  which  they  considered  as  eternal  and  to 
which  was  given  a  more  important  place  in  later  Buddhism,  than  was 
assigned  to  the  Buddha  himself.  The  Vajrayanists  refer  to  Sunya  in  all 
their  writings,  but  this  is  not  the  Sunya  of  the  Madhyamakas  about 
which  neither  existence  nor  non-existence  nor  a  combination  of  the  two 
nor  a  negation  of  the  two  can  be  predicatedj  To  the  Madhyamakas 
both  the  subject  and  the  object  are  Sunya  in  essence  ;  there  is  no 
reality  either  of  the  mind  or  of  the  external  world.  Obviously,  this  is 
a  position  which  was  not  agreeable  to  the  Vajrayanists  because  to  them 
a  positive  aspect  in  the  Sunya  is  absolutely  necessary.  The  Yogacara 
or  the  Vijnanavada  goes  a  little  further  and  the  view  of  Vijnanavada 
as  formulated  by  the  school  is  that  when  emancipation  is  obtained  it 
does  not  become  Sunya,  but  turn  into  eternal  consciousness. 
Vajrayana,  on  the  other  hand, 'is  characterized  as  the  'Path  which  leads 
to  perfect  enlightenment*  or  what  they  call  in  Sanskrit  'Ar&ttara  Samyak 
Sambodhi'.  Vajrayana  literally  means  the  adamantine  path  or  vehicle, 
but  its  technical  meaning  is  the  'Sunya  Vehicle'  where  £unya  is  used  in 
a  special  sense  to  represent  Vajra.  It  is  said, — 

L    Bhattacharyya  :    Buddhist  Esoterism,  p.  24 


INTRODUCTION  11 

"Sunyata  is  designated  as  Vajra 
because  it  is  firm  and  sound,  and 
cannot  be  changed,  cannot  be  pierced, 
cannot  be  penetrated,  cannot  be  burnt 
and  cannot  be  destroyed".  * 

The  Mahayanists  differ  from  the  Hmayanists  who  are  keen  on 
obtaining  liberation  for  themselves  by  their  own  efforts.  The 
Mahayanists,  on  the  other  hand,  do  not  care  for  their  own  salvation.. 
They  are  more  solicitous  about  the  deliverance  of  their  fellow  creatures/ 
than  about  their  own.  Their  compassion  for  the  sufferings  of  others 
actuates  them  to  renounce  their  comforts,  merits  and  even  their  right 
to  salvation.  The  ideal  of  a  Mahayanist  finds  expression  in  the 
Karandavyuha  where  the  ideal  Bodhisattva  Avalokitesvara  is  represented 
as  refusing  his  well  earned  Nirvana  until  all  beings  of  the  world  were 
in  possession  of  the  Bodhi  knowledge  and  obtained  freedom  from 
worldly  miseries.  - 

This  then  may  be  considered  to  be  the  goal  of  every  Bodhisattva, 
which  can  be  reached  by  following  the  tenets  either  of  Sunyavada  or  of 
Vijnanavada.  The  Madhyamaka  theory  postulated  a  transcendental 
state  but  the  Yogacara  added  the  element  of  Vijriana  'consciousness' 
to  Sunya.  The  Bodhi  mind  is  a  chain  of  Vijnana  which  is  changing 
every  moment,  the  Vijnana  of  the  previous  moment  giving  rise  to 
the  Vijriana  of  the  succeeding  moment  with  the  same  memory  the 
same  conformations  and  same  qualities,  and  this  process  goes  on  till 
Vijnana  attains  liberation. 

Now,  this  is  the  sort  of  emancipation  to  which  the  Vijnanavadins 
led  their  followers.  In  this  Nirvana,  as  is  already  pointed  out,  there 
are  two  elements,  Sunya  and  Vijnana.  The  Vajrayana  which  is  a  direct 
outcome  of  the  Yogacara  school  introduced  a  new  element  or  the 
element  of  Mahasukha  'eternal  bliss'  to  their  conception  of  liberation. 
The  evolution  of  Buddhism  became  complete  and  found  full  expression 
in  Vajrayana. 

Vajrayana  introduced  many  innovations  of  a  revolutionary  character. 
It  introduced,  for  instance,  the  theory  of  the  five  Dhyani  Buddhas  as 
embodiments  of  the  five  Skandhas  or  cosmic  elements  and  formulated 
the  theory  of  the  Kulas  or  families  of  the  five  Dhyani  Buddhas  from 
which  deities  emerge  according  to  need.  It  introduced  the  worship  of 
the  Prajna  or  Sakti  in  Buddhism  for  the  first  time,  and  a  host  of  other 
things  including  a  large  number  of  gods  and  goddesses,  their  Sadhanas 

1.    Adv.  p.  23  2.    Karandavyuha,  ed.    Sama£rami,  pp.  21-22 


12  INTRODUCTION 

for  the  purpose  of  visualisation,  Mantras,  Tantras,  Yantras,  Mudras, 
Mandates,  mystic  realizations  and  psychic  exercises  of  the  most  subtle 
character. 

It  is  not  possible  to  trace  the  origin  of  Vajrayana  without  referring 
to  the  Tibetan  authorities  and  ancient  Tantric  authors  Taranath  is 
reported  to  have  said  l  that  Tantrism  existed  from  very  early  times  and 
was  transmitted  in  a  secret  manner  from  the  time  of  Asanga  down  to 
the  time  of  Dharmaklrti.  Asanga  who  was  a  brother  ofVasubandhu 
(280-360  A,  D.)  must  have  flourished  circa  300  A.  D.  and  Dharmaklrti 
who  is  not  mentioned  by  the  Chinese  traveller  Hiuen  Thsang  but  is 
referred  to  with  great  respect  by  I-Tsing  very  probably  belonged  to  a 
period  between  625-675  A.  D.  Thus  it  can  be  seen  that  during  a  long 
period  of  nearly  three  hundred  years  Tantrism  was  handed  down  from 
Gurus  to  disciples  in  an  occult  manner,  before  its  followers  could  be 
numerically  strong  enough  to  preach  their  secret  doctrines  in  public. 
It  seems,  therefore,  reasonable  that  the  Mahasiddhas  such  as  Saraha, 
Nagarjuna,  Luipa,  Padmavajra,  Anahgavajra,  Indrabhuti  and  the  rest 
who  were  masters  of  Tantra  and  were  great  authors  and  magicians,  were 
the  chief  agents  to  boldly  and  publicly  preach  their  doctrines  and 
exhort  people  to  follow  their  tenets,  doctrines  and  practices.  Their 
endeavours  combined  with  their  unique  personal  achievements  must 
have  converted  a  considerable  number  of  people  to  Vajrayana  faith. 

It  is  rather  difficult  to  point  out  the  source  of  information  from 
which  Taranath  drew  his  inspiration,  but  a  perusal  of  such  Tantric 
works  as  the  Guhyasiddhi  of  Padmavajra  and  the  Jnanasiddhi  of  Indra- 
bhuti makes  it  possible  to  infer  that  it  was  the  Guhyasamaja  which  was 
regarded  as  the  most  ancient  and  the  most  authoritative  work  of  the 
Tantra  school.  Padmavajra  not  only  advocates  the  cause  of  Tantric 
Buddhism  but  also  gives  a  succinct  digest  of  the  work  which  he  calls 
Sri-Samaja  or  the  'Venerable  Samaja'  in  his  treatise  which  is  still  unpub- 
lished. Indrabhuti  in  his  Jnanasiddhi  acknowledges  the  Guhyasamaja 
as  the  work  of  highest  authority,  and  gives  a  summary  of  some  chap- 
ters and  the  topics  dealt  with  in  this  work.  There  is  thus  hardly  any 
doubt  that  the  Guhyasamaja  is  the  original  Sahglti  which  introduced 
for  the  first  time  the  tenets  of  Vajrayana  into  Buddhism.  It  is  believed 
to  have  been  introduced  in  an  Assembly  of  the  Faithful  by  Lord  Buddha 
who  is  here  called  Sarva-Tathagata-Kaya-Vak-Citta.  The  Guhyasamaja 
is  written  in  the  form  of  a  Sangiti  and  is  considered  highly  authoritative 
even  now  amongst  the  Vajrayanists,  and  is  regarded  as  one  of  the  Nine 
Dharmas  of  Nepal.  This  is  evidently  the  first  work  of  Vajrayana,  and 


1.    Kern:    Manual  of  Buddhism,  p.  133 


INTRODUCTION  13 

Asahga  quite  conceivably  may  have  had  something  to  do  with  it,  as  it  is 
commonly  believed  that  the  Tantras  were  introduced  by  Asahga  after 
being  initiated  by  Maitreya  the  Coming  Buddha  in  the  mysteries  of 
Tantra  in  the  Tusita  heaven.  l 

It  cannot  be  denied  that  in  the  very  beginnings  of  Buddhism  and  even 
when  Mahayana  sprang  up  in  later  times  a  very  strict  discipline  was 
enjoined  on  the  followers  of  the  faith.  On  the  monks  the  rules  were 
very  strictly  put  into  operation.  For  instance,  they  must  not  have  any- 
thing to  do  with  women,  must  not  take  any  forbidden  food.  Wine, 
flesh,  fish,  appetisers  and  such  objects  of  enjoyment  were  specially 
forbidden.  The  rules  were  indeed  good  and  were  very  attractive  in 
the  time  of  the  Buddha.  But  it  is  wholly  absurd  to  expect 
obedience  to  such  strict  disciplinary  measures  from  all  members 
of  the  Sahgha  even  in  the  Buddha's  life-time,  if  not  for  centuries 
after  his  disappearance.  And  after  all,  what  will  be  the  result  ? 
Freedom  from  births  and  rebirths  was  only  a  possibility,  and  success 
at  best  was  only  questionable  !  The  members  of  the  Sahgha  must  have 
revolted  from  time  to  time  against  the  unnatural  rules  of  discipline 
imposed  on  them,  and  party  quarrels  were  already  in  evidence  in 
the  Second  Great  Council  when  the  Mahasahghikas  were  expelled 
from  the  Orthodox  church  by  the  Sthaviras  or  Elders,  because 
the  latter  were  unwilling  to  make  any  concession  on  the  ten  minor 
points  of  discipline.  Rebellion  against  the  rules  on  broader  and  more 
important  matters  of  discipline  must  have  been  in  existence  amongst 
the  monks  but  they  could  not  create  a  party  of  their  own  which  could 
sufficiently  withstand  the  criticisms  of  the  orthodox  section  which  was 
sure  to  go  against  them  and  denounce  them  as  heretics.  Those  monks 
who  saw  salvation  only  in  leading  a  natural  life  went  on  devising  plans 
to  modify  their  faith  according  to  their  light,  probably  by  writing  what 
is  called  the  original  Tantras  which  were  secretly  handed  down  through 
trusted  disciples  who  could  practice  their  secret  rites  without  let  or 
hindrance.  These  Tantras  are  in  the  form  of  Sahgltis  and  are  said  to 
have  been  delivered  by  the  Buddha  in  an  Assembly  of  the  Faithful.  It 
is  in  this  Sahgiti  form  that  all  new  ideas  were  introduced  into  Buddhism 
and  the  Sahgltis  were  very  powerful  agencies  in  the  introduction  of 
innovations,  because  Buddhism  will  not  be  prepared  to  accept  anything 
as  true  unless  spoken  by  the  Buddha  in  a  public  assembly. 

The  orthodox  followers  of  the  faith  were  sure  to  challenge  anything 
that  had  not  been  sponsored  by  the  Buddha,  and  that  seems  to  be  the 


1*     For  further  information  refer  to   introduction   to   Guhyasamaja   published  in   the 
Qaekwad's  Oriental  Series,     (GOS). 


14  INTRODUCTION 

reason  of  the  great  popularity  of  the  Sahglti  literature.  The  original 
Tantras  of  Buddhism  are  written  in  the  Safiglti  form  wherein  are  in- 
culcated doctrines  which  are  diametrically  opposed  to  the  original 
teachings  of  the  Buddha.  Easy  methods  leading  to  happiness  in  this 
world  were  held  out  in  this  literature,  easy  paths  leading  to  salvation 
were  shown  ;  great  parade  was  made  of  the  merits  accruing  from  the 
repetitions  of  the  Mantras,  Dharams,  panegyrics  and  worship  of  gods 
and  goddesses.  But  everywhere  any  casual  reader  can  detect  a  desire  on 
the  part  of  the  authors  to  thwart  all  unnatural  rules  and  regulations 
imposed  on  the  followers.  These  disciplinary  regulations,  as  a  conse- 
quence  gradually  slackened  down  one  after  another,  and  ultimately 
when  the  Vajrayanists  gained  in  power  the  secret  doctrines  no  longer 
remained  secret,  but  were  openly  preached  and  practised  to  the  great 
annoyance  of  the  orthodoxy. 

In  order  to  increase  the  popularity  of  Vajrayana  the  followers  inclu- 
ded  in  it  every  conceivable  tenets,  dogmas,  rites  and  practices  that  were 
calculated  to  attract  more  adherents.  Thus  the  leading  tenets  of 
Mantrayana  along  with  Mantras,  Mandalas,  Mudras,  gods  and  god- 
desses were  included  in  Vajrayana.  The  earliest  work  of  this  class  is 
said  to  be  the  Vidyadharapitaka  which  has  been  characterised  by  Hiuen 
Thsang  as  belonging  to  the  canonical  literature  of  the  Mahasanghikas. 
But  this  work  is  not  available  in  original  Sanskrit,  and  it  is  not  possible 
to  say  anything  with  regard  to  the  contents  of  the  text.  But  with  regard 
to  another  work  the  Manjusrimulakalpa  the  circumstances  are  different. 
This  extensive  work  is  published  in  the  Trivandrum  Sanskrit  Series  in 
three  volumes.  The  text  forms  a  part  of  the  ancient  Vaipulyasutras  of 
Mahayana  and  is  decidedly  the  earliest  work  of  Mantrayana  at  present 
available.  It  is  written  in  the  Sangiti  style  in  prose  and  in  verse,  and 
in  an  archaic  style  closely  resembling  the  Gatha  style,  and  is  written 
throughout  in  what  is  called  the  Mixed  Sanskrit.  This  work  must 
have  been  very  popular  even  after  the  destruction  of  Buddhism  in  India 
as  will  be  evident  from  the  fact  that  the  book  was  copied  only  about 
four  hundred  years  back  in  a  monastery  of  South  India  by  Ravicandra 
the  head  of  the  Mulaghosa  Vihara.  1  The  Manjusrimulakalpa  deals 
with  the  formulae  and  practices  which  lead  both  to  meterial  prosperity 
and  spiritual  regeneration,  and  belongs  to  the  early  centuries  A.  D.  but 
decidedly  after  the  time  of  the  composition  of  the  Amitayus  Sutra 
or  the  Sukhavati  Vyuha  which  ushered  in  the  conception  of  Amitabha 
and  Avalokitesvara  for  the  first  time  in  Mahayana.  The  Amitayus  Sutra 
was  first  translated  into  Chinese  in  a  period  between  A.  D.  148-170,  and 
hence  the  time  of  its  composition  may  be  fixed  at  about  100  A.  D.  2 

1.  See  introduction  to  the  Manjulrlmulakalpa  by  the  editor,   Ganapati  Shastri. 

2.  Sukhavativyuha,  p  p.  1,  28,  32 


INTRODUCTION  15 

The  Manjusrimulakalpa  in  that  case  would  only  be  about  a  hundred 
years  later  than  the  Amitayus  Sutra.  If  the  Guhyasamaja  is  accepted  as 
the  very  first  work  of  the  Vajrayana  school  it  must  be  admitted  that 
much  time  must  have  elapsed  between  the  age  of  the  Manjusrimulakalpa 
and  that  of  the  Guhyasamaja  which  is  put  down  in  circa  300  A.  D.  l 

The  beginning  of  the  Sangiti  in  the  Manjusrimulakalpa  is  in  the 
orthodox  style  as  opposed  to  the  Tantric  style  which  is  decidedly  later, 
and  where  Bhagavan  is  introduced  in  the  company  of  a  large  number 
of  women  instead  of  an  assembly  of  pious  and  devout  Bodhisattvas  only 
as  in  the  earlier  Sahgltis.  The  doctrine  of  the  five  Dhyani  Buddhas  or 
even  their  names,  Mudras,  Mantras,  families,  Saktis,  colour  and  direc- 
tion are  all  absent  in  the  Manjusrimulakalpa.  Moreover,  the  Mantras 
and  Mudras  which  were  later  systematized  in  the  Vajrayana  work  of 
Guhyasamaja  are  found  scattered  in  the  body  of  the  text  of  the  Manju* 
srlmulakalpa  in  a  disorganised  manner.  The  Mantras  of  some  of  the 
Dhyani  Buddhas  are  indeed  to  be  found  in  the  Manjusrimulakalpa 
although  not  exactly  in  the  same  meaning  and  form  as  in  the  later 
Guhyasamaja.  The  Manjusrimulakalpa  further  apeaks  of  Mantrayana 
but  it  does  not  refer  to  Vajrayana  which  is  mentioned  for  the  first  time 
in  the  Guhyasamaja  the  Tantra  of  Secret  Communion.  Under  the 
circumstances  it  is  possible  to  call  the  Manjusrimulakalpa  as  one  of  the 
earliest  Mahayana  Sutra  works  on  which  perhaps  is  based  the  outward 
foundation  of  the  Vajrayana  system.  Yet  one  who  willread  this  work 
carefully  will  not  fail  to  notice  that  it  is  a  product  behind  which  there  is 
a  history  of  development  of  several  centuries.  And  probably,  if  ever 
one  can  go  to  the  root  of  Mantrayana  one  will  have  to  voice  the  opinion 
of  £antaraksita  and  Kamalaslla  that  instruction  on  Tantras,  Mudras  and 
Mandalas  were  delivered  by  the  Buddha  for  the  benefit  of  such  followers 
as  would  care  more  for  their  material  prosperity  than  spiritual. 

Vajrayana  thus  included  in  its  purview  all  varieties  of  attractive  tenets, 
notions,  dogmas,  theories,  rites  and  practices,  and  incorporated  all  that 
was  best  in  Buddhsim  and  probably  in  Hinduism  also,  and  owing  to 
this  circumstance  Vajrayana  attained  great  fame  and  popularity.  It 
satisfied  everybody,  the  cultured  and  the  uncultured,  the  pious  and  the 
sinner,  the  lower  and  the  higher  ranks  of  the  people  and  devotees. 
Vajrayana  catered  to  all  tastes  with  equal  efficiency,  and  it  had  some- 
thing useful  for  everybody.  Its  universal  popularity  became  an  esta- 
blished fact. 

It  is  difficult  to  say  from  what  exact  locality  Tantrism  took  its  origin. 
In  the  Sadhanamala  are  mentioned  the  four  Pithas  or  sacred  spots  of  the 

1.    See  introduction  to  Quhyasamaja,  where  this  date  has  been  discussed. 


16  INTRODUCTION 

Vajrayanists,  namely,  Kamakhya,  Sirihatta,  Purnagiri  and  Uddiyana. 
The  Tibetan  authorities  are  of  opinion  that  the  Tantric  Buddhism  origi- 
nated  from  Uddiyana,  The  location  of  Uddiyana  thus  is  important  for 
the  history  of  the  Buddhist  Tantric  literature. 

Uddiyana  is  mentioned  in  the  Sadhanamala  rather  frequently.  The 
earliest  manuscript  of  the  Sadhanamala  is  dated  in  the  Newari  Era  285 
which  is  equivalent  to  A.  D.  1165.  In  this  work  Uddiyana  is  connected 
with  the  Sadhana  of  Kurukulla,  Trailokyavasamkara,  Marici  and 
Vajrayogim.  The  Sadhanamala  also  connects  Uddiyana  with  such 
Tantric  authors  as  Saraha.  The  Jnanasiddhi  of  Indrabhuti  is  stated  in 
the  last  colophon  as  having  started  from  Uddiyana  (Odiyana). 

Uddiyana  being  one  of  the  four  Pithas  sacred  to  Vajrayogim  should 
be  at  least  near  Kamakhya  (Kamarupa),  and  Sirihatta  (Sylhet)  in 
Assam  and  it  is  not  unusual  to  think  that  all  these  four  Pithas  received 
their  sanctity  from  temples  dedicated  to  Vajrayogim.  Thus  Uddiyana 
has  to  be  located  in  Eastern  and  Assam  area. 

In  the  mediaeval  period  when  Tantras  flourished,  Vanga  and  Sama- 
tata were  the  two  important  centres  of  culture  in  Bengal.  Vahga  inclu- 
ded the  present  Dacca,  Faridpur  and  Backerganj  districts,  while  Samatata 
comprised  the  present  Sylhet,  Chittagong,  Tipperah  and  Mymensingh 
districts.  That  Vahga  and  Samatata  were  the  two  great  centres  of 
culture  in  Bengal  is  borne  out  by  the  numerous  Buddhist  and  Brahma- 
nical  images  of  the  Tantric  type  discovered  in  the  whole  of  this  region. 
Numerous  old  inscriptions,  remains  of  old  buildings,  coins  and  terra- 
cottas  found  in  these  regions,  confirm  the  conclusion  that  from  the 
Vanga-Samatata  area  radiated  different  streams  of  culture  to  the  rest  of 
Eastern  India.  l 

In  this  Vahga'Samatata  region  one  of  the  most  important  places  is 
the  Pargana  Vikrampur  in  the  Dacca  district.  Anyone  acquainted  with 
the  ancient  inscriptions  of  Bengal  will  be  able  to  appreciate  the  import- 
ance of  Yikrampur  which  is  sometimes  mentioned  as  the  seat  from 
which  imperial  charters  were  issued.  There  was  a  great  Buddhist 
monastery  here  in  the  reign  of  the  Candras  and  the  Senas.  Atisa 
Dlpahkara,  famous  in  Tibetan  history  as  a  great  scholar  and  master  of 
Tantric  lore,  is  said  to  belong  to  the  royal  family  of  Vikrampur. 
Vikrampur  is  recognized  even  to-day  as  one  of  the  foremost  places  of 
culture  in  East  Bengal. 

In  this  Pargana  Vikrampur  there  is  a  fairly  large  and  well-populated 
village  which  is  now  known  by  the  rather  extraordinary  name  of 

1.    Bhattasali  :     IBBS,  intro.  p.  xxviii. 


INTRODUCTION  17 

Vajrayogini.  Round  about  this  village  numerous  Vajrayana  images  have 
been  discovered,  and  among  them  may  be  noticed  images  of  Jambhala, 
Parnasaban,  Vajrasattva  and  Tara.  The  term  * Vajra'  inVajrayogim  is  also 
a  familiar  Buddhist  word.  Vajra  is  equivalent  to  Sunya.  Vajrayogini 
is  a  Buddhist  deity  which  the  Hindus  borrowed  in  the  form  of  Chhinna- 
masta.  Thus  the  name  of  the  village  appears  to  be  unmistakably  Bud- 
dhist. The  village  must  have  derived  its  name  from  the  temple  of 
Vajrayogini  which  was  in  existence  in  early  times. 

It  has  already  been  pointed  out  that  the  temples  dedicated  to  Vajra- 
yogini could  only  be  expected  at  four  places,  Kamakhya,  Sirihatta,  Pur- 
nagiri  and  Uddiyana.  Out  of  these  Kamakhya  and  Sirihatta  (Sylhet) 
still  retain  their  original  names.  Purnagiri  which  signifies  a  hill  is  not 
identified  yet  with  certainty.  But  it  is  possible  to  spot  the  fourth  place 
which  is  connected  with  Vajrayogini.  Thus  it  becomes  evident  that  the 
present  village  Vajrayogini  was  originally  known  as  Uddiyana  but  as  the 
deity  Vrjrayogim  became  more  popular  later,  the  original  name  gradually 
disappeared  giving  place  to  the  name  of  the  deity.  Tantrism  of  the 
Buddhists  therefore  originated  here  in  Uddiyana-Vajrayogim,  and  thence 
was  transmited  to  the  rest  of  India.  l 

One  of  the  chief  topics  dealt  with  in  Vajrayana  is  the  deity.  These 
deities  are  a  product  of  psychic  exercises  of  the  most  subtle  character, 
and  are  visualized  by  the  worshipper  in  the  course  of  intense  meditation. 
These  psychic  exercises  are  called  the  Sadhanas  a  collection  of  which 
is  published  in  the  Sadhanamala  already  referred  to.  To  appreciate 
Buddhist  iconography,  therefore,  a  reference  to  the  Sadhana  process  of 
god-realisation  is  necessary.  This  process  is  described  in  the  next 
section. 

3.     The  Psychic  Process  of  Sadhana. 

The  Tahtrics  of  ancient  India  were  formidable  optimists.  They 
intuitively  realised  that  though  this  universe  is  composed  of  matter  and 
spirit,  it  is  the  spirit  which  always  dominates  over  matter,  and  is  un- 
doubtedly more  powerful  than  the  latter.  There  were  several  schools 
of  thought  in  ancient  India  which  took  it  for  granted  that  spirit  was 
supreme  and  that  this  spirit  should  be  developed  in  order  that  power 
may  be  gained.  Amongst  these  schools  the  Yoga  and  Tantra  were  pre- 
eminently the  most  influential  and  popular.  The  followers  of  these 
schools,  particularly  the  latter,  wanted  to  achieve  through  spiritual  or 
psychic  power  everything  that  could  be  achieved  in  the  material  sphere. 
To-day  for  quick  travel  the  material  world  presents  to  us  railways, 


For  further  details,  see  the  author's  article,  entitled  The  Home  of  Tantric  Buddhism 
in  B.  C.  Law  Commemmoration  Volume,  Vol.  I. 

3 


18  INTRODUCTION 

aeroplanes  and  steamers,  but  the  Tantrics  claimed  that  by  spiritual 
culture  weight  of  the  body  can  be  so  reduced  that  it  can  fly  over  space 
to  any  distance  within  the  shortest  possible  time.  To-day  for  informa- 
tion about  kinsmen  in  distant  lands  people  send  letters,  wires  and 
cables,  but  the  Tantrics  claim  that  by  intense  meditation  alone  they  can 
visualize  what  is  happening  in  other  parts  of  the  world,  either  by  a  projec- 
tion  of  the  mind  or  by  mentally  travelling  the  distance  in  a  few  seconds. 
For  conversing  with  a  friend  at  a  long  distance  the  material  world  pro- 
vides telephones  and  wireless  instruments  but  the  Tantrics  claim  that 
by  psychic  exercises  they  can  hear  anything  from  any  distance,  even  the 
voice  of  gods  and  other  invisible  beings  in  the  firmament.  When  a  man 
suffers  from  disease  the  material  world  provides  doctors,  medicines, 
injections  and  so  forth,  but  to  a  Tantric  these  are  unnecssary.  By  deve- 
loping  psychic  resources  of  the  mind  he  can  cure  by  a  mere  glance,  or 
touch  or  by  recitation  of  Mantras.  These  extraordinary  powers  of  the 
mind  are  called  Siddhis. 

Thus  it  can  be  seen  that  the  Tantrics  recognised  long  before  the 
present  age  that  psychic  culture  is  of  the  utmost  importance  in  life,  and 
through  these  exercises  anything  that  can  be  accomplished  in  the  mate- 
rial sphere  can  be  achieved  in  the  psychic  sphere.  This  tendency  even 
in  the  present  day  is  a  dominating  factor  in  Indian  life,  and  no  one 
should  wonder  seeing  people  running  after  Sadhus  and  Sannyasins  lea- 
ving aside  modern  scientific  men  in  many  of  their  difficulties.  Occasion- 
ally, stories  are  told  of  miraculous  powers  of  ascetics  over  the  elements 
of  nature  or  of  their  power  of  curing  diseases  for  which  apparently  no 
recognised  system  of  scientific  medicine  has  discovered  a  cure.  There 
are  many  such  Yogins  even  now  in  India  moving  about  in  jungles, 
cities,  caves  and  mountains,  possessing  wonderful  and  miraculous 
powers. 

The  Tantrics  who  were  the  advocates  of  psychic  culture,  by  persistent 
efforts  through  mental  exercises,  used  to  obtain  super-normal  powers 
which  were  known  as  Siddhis.  Those  who  gained  such  Siddhis  were 
called  Siddhas,  and  the  process  through  which  they  obtained  Siddhis 
called  Sadhana.  In  the  Yogasutra  which  is  recognised  to  be  the  earliest 
work  in  Sanskrit  on  the  subject  of  psychic  exercises,  enumerates  eight 
different  Siddhis.  Later  works  mention  more  and  the  Brahmavaivarta 
Purana  mentions  thirty-four  kinds  of  Siddhis  including  the  eight  already 
mentioned  in  the  Yogasutra. 

The  Siddhas  or  those  who  attain  supernormal  powers  are  consi- 
dered to  be  of  three  distinct  varieties,  the  Best,  Middling  and  the  Mild. 
The  first  class  magicians  can  fulfil  all  their  desires  by  mere  thought, 
that  is  to  say,  as  soon  as  a  desire  arises  in  his  mind  it  is  instantly  fulfilled. 


INTRODUCTION  19 

The  Middling  variety  of  Siddhas  is  able  to  conquer  death,  commune 
with  gods,  enter  unperceived  into  dead  bodies  or  homes  of  others, 
move  in  the  air,  hear  the  gods  talk,  understand  all  terrestrial  truths, 
obtain  conveyances  and  ornaments,  and  are  able  to  bewitch  people,  per* 
form  miracles,  remove  diseases  by  glance  or  touch,  extract  poison, 
obtain  erudition  in  scriptures,  renounce  all  worldly  enjoyments,  prac- 
tise Yoga  in  all  its  subdivisions,  show  compassion  to  all  beings  and  even 
obtain  omniscience.  The  Mild  or  the  third  class  of  Siddha  obtains  fame, 
long  life,  conveyances,  ornaments,  familiarity  with  the  king,  popularity 
with  royal  personages  and  people  of  influence  and  power,  wealth  and 
prosperity,  children  and  family. 

The  Siddhas  of  the  first  and  second  class  were  known  as  Mahasiddhas 
'Great  Magicians'  and  in  India  their  number  was  recognized  as  eighty- 
four.  Most  of  these  Mahasiddhas  flourished  during  the  Pala  Period 
of  Indian  history  (8th  to  12th  centuries  A.D.)  and  were  famous  because 
of  their  uncanny  and  prodigious  feats. 

The  Sadhana  or  the  process  prescribed  for  attaining  the  different 
Siddhis  forms  the  bulk  of  the  Tantric  literature  of  both  the  Buddhists 
and  the  Hindus.  Thousands  of  Sadhanas  were  written,  both  in  prose 
and  in  verse,  in  Sanskrit  and  thousands  were  translated  into  Tibetan 
and  are  now  preserved  in  the  pages  of  the  Tibetan  Tangyur.  Besides, 
every  Tantric  manuscript,  cart  loads  of  which  are  even  to*day  to  be 
found  in  public  and  private  collections,  describes  the  Sadhanas  through 
which  Siddhis  are  possible  of  attainment.  The  Buddhists  had  a  special 
literature  called  the  Sadhanas  and  they  were  always  written  in  Sanskrit 
by  many  of  the  well  known  Tantric  authors  and  the  Mahasiddhas. 
This  literature  is  now  almost  lost  in  original  Sanskrit,  but  fortunately 
for  us  some  collections  of  Sadhanas  are  still  extant.  These  collections 
were  given  the  names  of  Sadhanamala  and  Sadhanasamuccaya,  and  a 
critical  edition  of  all  available  Sadhanas  in  these  two  collections  is 
already  published  in  two  volumes  in  the  Qaekwad's  Oriental  Series  as 
Nos.  26  and  41.  The  publication  of  these  Sadhanas  has  revealed  a 
number  of  hitherto  unknown  and  important  facts.  The  Sadhanas 
revealed  that  the  Buddhists  were  not  lagging  behind  any  other  religion 
in  India  in  the  matter  of  psychic  culture  as  advocated  in  the  Tantras. 
Secondly,  as  these  Sadhanas  contain  the  description  of  a  large  number 
of  Buddhist  deities  it  becomes  possible  to  differentiate  them  from  the 
deities  of  the  Hindu  and  Jain  faiths,  and  to  determine  the  purpose  for 
which  they  were  made  and  what  they  stood  for. 

The  Sadhanas  being  most  important  for  the  study  of  Buddhist 
iconography  it  is  necessary  to  give  a  general  idea  of  the  contents  of 
the  S§dhana  or  the  detailed  process  through  which  spiritual  eminence 


20  INTRODUCTION 

or  Siddhi  is  obtained.  For  this  purpose  a  summarised  translation  of 
an  elaborate  Sadhana  in  the  Sadhanamala  is  given  here.  But  before 
proceeding  to  translate  the  Sadhana  it  may  be  emphasized  that  it  is 
a  purely  psychic  process  for  the  realisation  and  visualisation  of  the 
deity  with  whom  the  worshipper  is  asked  to  identify  himself.  The 
Sadhana  in  all  cases  is  prescribed  for  the  realisation  of  some  god  or 
goddess  according  to  a  fixed  procedure  laid  therein. 

For  describing  the  contents  of  the  Sadhanas  a  specimen  is  here 
selected  which  is  published  as  Sadhana  No.  98  in  the  Sadhanamala  of 
the  printed  edition,  for  the  realisation  of  the  goddess  Tara,  composed 
by  Sthavira  Anupama  Raksita  who  was  a  well-known  Tantric  author 
and  who  flourished  before  1165  and  whose  works,  five  in  number,  are 
preserved  in  translation  in  the  Tibetan  Tangyur.  The  contents  of 
this  Sadhana  is  given  below. 

"The  worshipper  after  leaving  the  bed  in  the  morning  should  wash 
his  feet  and  face  and  after  purifying  himself  should  go  to  a  place  which 
is  lonely,  agreeable,  besmeared  with  scents,  strewn  with  fragrant  flowers, 
and  then  sit  there  in  an  easy  pose.  Then  he  should  meditate  on  his 
heart  the  orb  of  the  moon  which  originates  from  the  first  syllable  -A- 
and  on  it  think  on  the  form  of  a  beautiful  blue  lotus.  On  the  filament 
of  the  lotus  he  should  meditate  on  another  moon  the  yellow  germ 
syllable— Tarn— as  destroying  the  darkness  of  ignorance,  illuminating 
innumerable  worlds  of  the  ten  quarters,  and  bringing  from  the 
firmament  innumerable  Buddhas  and  Bodhisattvas. 

'Then  after  an  elaborate  worship  of  these  great  compassionate 
Buddhas  and  Bodhisattvas  with  celestial  flowers,  incense,  scents 
garlands,  unguents,  powders,  mendicant  dress,  umbrellas,  flags,  bells, 
banners  and  the  like,  the  worshipper  should  confess  his  sins  with  the 
following  words  ;  'Whatever  sinful  deeds  I  have  done,  caused  to  be 
done,  or  consented  to  be  done,  in  this  endless  cycle  of  creation, 
everything  I  confees'. 

"Thereafter,  meditating  on  the  restraint  of  wrong  deeds  he  should 
give  his  assent  to  the  meritorious  deeds  of  others  with  the  following 
Mantra  ;  'I  assent  to  the  virtuous  deeds  of  the  Sugatas,  Pratyekas, 
Sravakas,  the  Jinas  and  their  sons  the  Bodhisattvas,  and  of  the  world 
with  all  the  gods  beginning  with  Brahman'. 

'Then  he  should  take  refuge  in  the  Three  Jewels  with  the  Mantra  ; 
'I  take  refuge  in  the  Buddha  so  long  as  the  Bodhi  essence  subsists  ;  I 
take  refuge  in  the  Dharma  so  long  as  the  Bodhi  essence  subsists  ;  and 
I  take  refuge  in  the  Sangha  so  long  as.  the  Bodhi  essence  subsists'. 

'Thereafter  the  adherence  to  the  path  of  the  Tathagatas  should  be 
made  with  the  Mantra  :  'By  me  shall  be  followed  the  path  indicated 


INTRODUCTION  21 

by  the  Tanthagatas  and  naught  else', 

'Then  a  prayer  should  be  uttered  with  the  Mantra  :  The  gods 
and  the  Tathagatas  instruct  me  with  such  incontrovertible  advices  on 
law  by  which  all  beings  may  be  freed  from  the  bonds  of  the  world 
quickly*. 

'Then  he  should  meditate  on  the  results  of  his  meritorious  deeds 
with  the  words  ;  'Whatever  merit  I  have  acquired  by  the  seven  kinds 
of  extraordinary  worship  like  the  confession  of  sins,  etc.  all  that  I 
devote  to  gain  at  the  end  the  final  Sambodhi'. 

" After  having  finished  the  seven  kinds  of  extraordinary  worship 
the  deities  should  be  dismissed  with  the  formula  :  -Om  Ah  Muh-  or 
with  the  following  words  :  Thou  movest  now  according  to  Thy  will, 
being  besmeared  with  the  sandal  paste  of  Silas  (conduct),  wearing  the 
garments  of  the  Dhyana  (meditation)  and  strewn  with  the  flowers  of 
the  Bodhi  (Enlightenment)'. 

'Then  the  worshipper  should  meditate  on  the  Four  Brahmas,  of 
Friendship,  Joyousness,  Compassion  and  Indifference.  Friendship  is 
the  love  that  exists  in  all  beings  like  the  love  towards  the  only  son,  or 
like  its  fruition  in  their  welfare  and  happiness. 

"Compassion  again  is  of  what  kind  ?  It  is  the  desire  to  save  all 
beings  from  misery  and  from  causes  that  lead  to  misery.  The  desire 
that  I  shall  even  save  the  beings  who  are  burnt  in  the  great  fire  of 
suffering  from  the  three  evils  and  have  entered  the  prison  of  Samsara 
is  what  is  called  Compassion.  Or  it  is  the  desire  to  save  all  beings 
suffering  from  the  three  evils  from  the  sea  of  Samsara. 

"Mudita  or  Joyousness  is  of  the  following  nature.  It  is  the  desire 
in  all  beings  of  the  world  for  the  attainment  of  Buddhahood  which  is 
unlikely  to  materialize.  Or  it  is  the  attraction  in  all  beings  towards  the 
virtues  that  *  exist  in  the  world  and  to  the  enjoyment  of  spiritual  powers 
arising  out  of  them. 

"What  is  Indifference  or  Upeksa  ?  It  is  the  doing  of  great  welfare 
to  all  beings,  good  or  bad,  by  overcoming  adverse  requests  and  obstacles. 
Or  it  is  the  desire  that  comes  of  its  own  accord  to  do  good  to  all  beings 
without  the  least  craving  for  any  return,  love  or  hatred.  Or  it  is  the 
indifference  towards  the  eight  human  institutions  of  gain  or  loss,  fame 
or  notoriety,  praise  or  blame,  pleasure  or  pain,  and  similar  things. 

'Thus  meditating  on  the  Four  Brahmas  the  inherent  purity  of  the 
phenomenal  world  should  be  meditated  upon.  All  phenomena  are 
indeed  inherently  pure,  and  therefore,  the  worshipper  should  think 
himself  to  be  pure  by  nature.  This  natural  purity  of  all  phenomena 
should  be  established  by  the  formula  :  Om  svabhavasuddhah 
sarvadharmah  svabhavasuddho'ham — .  If  all  phenomena  are  inherently 


22  INTRODUCTION 

pure,  where  then  is  the  possibility  of  the  cycle  of  existence  ?  Because 
of  its  being  covered  up  with  such  thought  categories  as  the  subject  and 
the  object.  The  way  of  purging  of  this  impurity  is  the  meditation  on 
the  good  path  By  this  it  is  made  to  disappear.  Thus  is  established 
the  inherent  purity  of  all  phenomena. 

" After  meditating  on  the  purity  of  the  phenomenal  existence  the 
Sunyata  of  all  phenomena  should  be  meditated  upon.  Here  ounya 
means  this.  He  should  conceive  the  entire  universe  with  its  mobile 
and  immobile  creations  as  the  clear  manifestation  of  non-duality  when 
the  mind  is  devoid  of  all  the  extensions  of  such  thought  categories  as 
the  subject  and  the  object.  The  Sunyata  should  be  established  by  the 
formula — Orh  Sunyatajnanavajrasvabhavatmyako'ham — . 

"Then  as  previously  stated,  the  worshipper  should  meditate  on  his 
heart  the  goddess  Aryatara  who  originates  from  the  yellow  germ-syllable 
— Tam — placed  on  the  orb  of  the  moon  with  the  deer  on  its  lap. 

"The  worshipper  should  meditate  on  goddess  Aryatara  as  one-faced 
and  two-armed  of  deep  green  complexion,  fully  decked  in  all  ornaments, 
of  youthful  appearance,  clad  in  celestial  garments,  holding  on  her 
crown  the  miniature  figure  of  the  parental  Dhyani  Buddha  Amogha* 
siddhi.  The  deity  should  further  be  meditated  upon  as  sitting  in  the 
ardhaparyahka  attitude  and  showing  the  gift-bestowing  signal  in  the 
right  hand  and  carrying  a  full-blown  lotus  in  the  left  hand. 

"The  goddess  of  this  description  should  be  meditated  upon  as  long 
as  desired.  Then  the  eternally  accomplished  Bhagavatl  should  be  drawn 
out  from  within  by  the  spreading  rays  that  illumine  the  three  worlds, 
the  rays  that  issue  forth  from  the  yellow  germ  syllable — Tam— placed 
on  the  orb  of  the  spotted  moon  which  is  enclosed  within  the  filament 
of  a  beautiful  blue  lotus.  After  thus  discovering  her,  she  should  be 
placed  on  the  firmament  and  should  be  worshipped  with  the  offerings  of 
scented  water  and  fragrant  flowers  contained  in  the  vessel  inlaid  with 
gems  at  the  feet  of  the  goddess.  She  should  also  be  worshipped  with 
various  rites,  external  and  internal,  by  means  of  flowers,  incense,  light 
stick,  food  offerings,  scents,  garlands,  unguents,  powders,  mendicant 
dress,  umbrella,  flags,  bell,  banner  and  the  like.  Thus  after  repeatedly 
worshipping  her  and  offering  her  panegyrics,  the  Mudra  or  the  mystic 
signal  should  be  exhibited.  The  palms  of  the  hands,  should  be  joined 
together  with  the  two  middle  fingers  stretched  in  the  form  of  a  needle. 
The  two  first  fingers  should  be  slightly  bent  their  tips  touching  the 
third  phalanges  of  the  first  fingers.  The  two  third  fingers  should  be 
concealed  within  the  palm,  and  the  two  little  fingers  should  be  stret- 
ched. This  is  called  the  Utpala  Mudra  or  the  signal  of  the  night 
lotus* 


INTRODUCTION  23 

"With  this  Mudra  the  goddess  of  the  essence  of  Knowledge  in  the 
front  should  be  propitiated,  and  then  she  should  be  commingled  with 
the  goddess  of  the  essence  of  Time  within,  and  by  so  doing  the  non- 
duality  of  the  two  should  be  meditated  upon.  Then  the  rays  issuing 
forth  from  the  yellow  germ  syllable — Tarn— placed  on  the  spotless 
moon  will  appear  to  him  as  illumining  the  ten  quarters,  as  causing  the 
removal  of  the  poverty  and  misery  of  all  beings  by  showers  of  various 
gems  and  as  satisfying  them  by  the  nectar  of  advice  on  the  nature  of 
Sunya. 

"Engaging  himself  in  doing  good  to  the  world,  the  worshipper 
should  meditate  on  the  form  of  goddess  Tara  which  is  identified  with 
the  universe.  Further,  he  should  meditate  repeatedly  until  tired  on  the 
yellow  germ  syllable  and  the  Bhagavati  contained  therein,  He  who 
is  unable  to  meditate  thus  should  mutter  the  Mantra  which  in  this  case 
is — Om  Tare  Tuttare  Ture  Svaha — .  This  is  the  lord  of  all  Mantras, 
is  endowed  with  great  powers,  and  is  saluted,  worshipped  and  revered 
by  all  Tathagatas. 

"After  having  finished  his  meditation  on  the  form  of  Tara  he  should 
think  the  world  as  identical  withe  th  goddess  and  should  move  about 
thinking  his  own  form  as  that  of  the  goddess.  Generally  speaking, 
those  who  meditate  on  the  Bhagavati  in  this  manner,  all  the  eight 
supernormal  powers  fall  at  their  feet,  and  other  small  powers  come  to 
him  as  a  matter  of  course.  Whoever  meditates  on  the  Bhagavati  in 
the  lonely  caves  of  mountains  espies  her  with  his  own  eyes.  The 
Bhagavati  herself  gives  him  his  breath,  nay  more,  even  the  Buddhahood 
which  is  most  difficult  to  attain  comes  to  him  like  a  plum  on  the  palm 
of  his  hand." 

The  above  is  a  summary  of  the  contents  of  a  Sadhana  devoted  to 
a  single  goddess,  Tara,  and  there  are  hundreds  of  such  Sadhanas  for 
other  gods  and  goddesses.  But  the  important  point  to  be  noted 
in  this  connection  is  that  the  gods  have  no  independent  and  real 
existence  apart  from  the  mind  of  the  worshipper  and  the  manner  of 
worship.  The  deities  possess  no  external  form,  but  represent  purely 
mental  conceptions  of  the  Sadhaka  who  by  means  of  the  Sadhana 
undergoes  a  detailed  mental  exercise  for  the  development  of  his 
spiritual  or  psychic  powers. 

The  discussion  in  this  section  leads  to  a  consideration  of  godhead 
in  Tantrism  in  order  that  the  deities  treated  in  this  work  may  be 
studied  in  their  true  perspective, 


24  INTRODUCTION 

4.    Godhead  in  Buddhism. 

I  There  is  a  great  deal  of  confusion  regarding  the  true  nature  of  the 
deity  whether  it  is  of  the  Hindu  or  Buddhist  conception.  The  general 
belief  is  that  the  deity  is  nothing  more  than  an  idol,  and  therefore,  not 
worthy  of  any  attention.  The  deities  are  connected,  as  all  students  of 
Tantra  know,  with  Sadhana  and  Siddhi,  and  the  conception  of  godhead 
therefore  is  an  essentially  spiritual  or  psychic  matter.  {. 

The  Sadhana  is  concerned  with  the  process  for  worshipping  a  parti" 
cular  deity  as  has  been  made  abundantly  clear  in  the  previous  section. 
This  consists  in  meditation  in  a  quiet  place  and  there  practise  Yoga  till 
a  state  similar  to  deep  sleep  is  brought  about.  In  this  state  of  deep 
sleep  the  ascetic  communes  with  the  Infinite  Spirit  or  the  inexhaustible 
store-house  of  energy,  which  is  supposed  to  be  the  highest  creative  prin- 
ciple behind  the  world  structure.  By  this  communion  the  ascetic  draws 
forth  energy  from  that  inexhaustible  store-house  and  becomes  powerful 
himself.  This  process  of  the  realisation  of  the  Infinite  Spirit  is  what  is 
called  Sadhana.  The  deity  is  part  of  this  psychic  process. 

The  Tantras  are,  in  fact,  sciences  dealing  with  psychic  matters,  and 
give  directions  for  a  variety  of  psychic  exercises.  It  therefore  stands lo 
reason  that  the  Tantra  is  a  science  or  a  Vidya  requiring  competent  pre- 
ceptors and  efficient  disciples.  Like  all  other  sciences  the  Tantra  is 
not  also  open  to  all  and  the  sundry,  but  only  for  those  who  are  initiated 
into  the  mysteries  of  the  science,  and  are  competent  to  follow  the  pres- 
cribed practices  with  patience  and  zeal.  These  are  the  right  type  of 
disciples  for  Tantric  practices,  and  may  be  called  the  Adhikarins  or 
rightful  persons.  In  many  Tantric  works  long  chapters  are  devoted 
to  the  qualifications  of  the  preceptors  *and  disciples  and  there  are  also 
rules  for  their  respective  competence  to  give  or  receive  initiation. 

The  Adhikarin  must  have  a  certain  equipment  before  he  proceeds 
to  receive  his  initiation  in  the  Tantra  from  a  preceptor.  And,  in  fact, 
as  the  Tantra  path  is  an  exceedingly  difficult  path,  the  disciple  is  required 
to  have  a  great  deal  more  equipment  than  is  necessary  for  persuing  any 
other  Vidya  known  to  ancient  India.  First  of  all,  the  neophyte  must  be 
patient,  enduring,  devoted  and  sincere,  and  he  must  serve  his  preceptor 
with  whole-hearted  devotion.  But  the  most  important  equipment  nece- 
ssary for  him  is  that  he  should  be  proficient  in  the  art  of  Yoga  and 
Hathayoga  without  which  it  is  not  possible  to  proceed  with  any  Sadhana 
worth  the  name  or  with  any  difficult  Tantric  practice.  The  process  of 
the  visualisation  of  the  deity  requires  intensive  training  as  the  following 
account  will  show. 

The  difficult  psychic  process  is  described  in  detail  and  in  an  elaborate 
form  in  the  Guhyasamaja  which  may  be  called  the  Bible  of  the  Tantric 


INTRODUCTION  25 

Buddhists.  A  perusal  of  the  book  makes  it  clear  that  when  the  Bodhicitta 
or  the  Will  to  Enlightenment  mingles  with  Sunya  or  the  Infinite  Spirit 
in  the  highest  state  of  meditation  the  mind-sky  is  filled  with  innumerable 
visions  and  scenes,  until  at  la?t,  like  sparks  the  individual  visualises 
letters  or  germ  syllables,  which  gradually  assume  the  shape  of  deities, 
first  indistinct,  then  changing  into  perfect,  glorious  and  living  forms,  the 
embodiment  of  the  Infinite  Sunya.  They  appear  in  bright,  effulgent, 
gorgeous  and  divine  beauty  in  form,  ornaments  and  dress.  Violent 
deities  in  like  manner  appear  before  him  in  the  most  violent  form  con- 
ceivable, in  an  awe-inspiring  manner  with  dishevelled  hair,  blood-shot 
eyes,  bare  fangs,  decked  in  ornaments  of  human  skulls,  severed  heads 
and  human  bones,  with  frightful  weapons  and  dress.  These  beings 
both  benefic  and  malefic,  are  known  as  deities,  and  once  realised  they 
never  leave  the  ascetic  but  become  instrumental  in  bestowing  on  the 
ascetic  more  and  more  spiritual  and  psychic  powers. 

I  The  process  of  the  evolution  of  the  deity  is  described  in  Tantric 
works,  where  clear-cut  statements  are  made  on  the  origin  of  the  deities 
and  their  gradual  evolution  from  the  germ  syllable.  In  the  Advayavajra- 
sahgraha,  for  instance,  it  is  said  :  f 

f  "The  form  of  the  deity  is  an  explosion  of  the  Sunya.  It  is  by  nature 
non-existent.  Whenever  there  is  an  explosion  it  must  be  Sunya  in 
essence."1  I 

|  In   another  place  in  the  same  book  it  is  declared  :  / 

I" From  the  right  perception  of  Sunyata  proceeds  the  germ-syllable  ; 
from  the  germ-syllable  proceeds  the  conception  of  an  icon,  and  from 
the  icon  its  external  representations.  The  whole  process  therefore  is 
one  of  dependent  origination."-'  j 

The  equipment  necessary  for  persons  competent  to  worship  and 
realize  deities,  and  the  nature  of  the  evolution  of  the  deities  have  already 
been  indicated.  Now  it  is  necessary  to  state  the  views  of  the  Guhyas- 
amaja  regarding  the  principles  of  god-realisation,  and  the  various  expe- 
riences through  which  the  Sadhaka  has  to  pass  before  the  deity  is 
realised  and  visualised.  The  Guhyasamaja3  calls  this  process  Upaya 
(means)  which  is  recognised  as  of  four  kinds,  Seva,  Upasadhana,  Sadha- 
na  and  Mahasadhana.  Seva  (worship)  is  again  sub-divided  into  two, 
namely,  Samanya  (ordinary)  and  Uttama  (excellent).  Of  these  two,  the 
Samanya  Seva  consists  of  four  Vajras  :  first,  the  conception  of  Sunyata  ; 
second,  its  transformation  into  the  germ-syllable  ;  third,  its  evolution 

1.  ADV.  p.  50,  lines  7,  8. 
r    2.  ADV.  p.  51,  lines,  6,  7. 

3,  Guhyasamaja,  chapter,  18,  pp.  162,  163. 

4 


26  INTRODUCTION 

in  the  form  of  a  deity,  and  the  fourth,  the  external  representation  of  the 
deity. 

In  the  UttamaSeva  (excellent  worship)  Yoga  with  its  six  limbs  should 
be  employed.  These  six  limbs  are  :  Pratyahara,  Dhyana,  Pranayama, 
Dharana,  Anusmrti  and  Samadhi..  Pratyahara  (control)  is  here  descri- 
bed as  the  process  by  which  the  ten  sense-organs  are  controlled.  Dhyana 
(meditation)  is  explained  as  the  conception  of  the  five  desired  objects 
through  the  five  Dhyani  Buddhas,  namely,  Vairocana,  Ratnasambhava, 
Amitabha,  Amoghasiddhi  and  Aksobhya.  This  Dhyana  is  again  sub- 
divided into  five  kinds  :  Vitarka  (cogitation),  Vicara  (thinking),  Priti 
(pleasure),  Sukha  (happiness),  and  Ekagrata  (concentration). 

Pranayama  (breath  control)  is  the  control  of  the  breathing  process 
by  which  breath  which  is  of  the  nature  of  the  five  Bhutas  (elements)  and 
the  five  kinds  of  knowledge,  and  is  like  a  bright  gem,  is  drawn  from 
inside  and  placed  as  a  lamp  at  the  tip  of  the  nose  and  is  meditated  upon. 

Dharana  (meditation)  is  the  meditation  of  one's  own  Mantra  on  the 
heart,  and  the  placing  of  it  on  the  Pranabindu  (heart  centre)  after 
restraining  the  jewel  of  sense-organs.  When  this  is  done  Nimittas 
(signs)  make  their  appearance.  These  signs  are  of  five  kinds  and  appear 
in  succession.  The  first  is  the  sign  of  the  Maricika  (mirage),  the  second 
is  that  of  smoke,  the  third  is  of  fire-flies,  the  fourth  is  of  light,  and  the 
fifth  of  constant  light  like  a  cloudless  sky. 

Anusmrti  (memory)  is  the  constant  meditation  of  the  object  for 
which  the  psychic  exercise  is  undertaken,  and  by  this  Pratibhasa  (revela- 
tion) takes  place.  After  commingling  the  two  elements  Prajna  (know- 
ledge) and  Upaya  (means)  the  whole  objective  world  should  be  concei- 
ved as  contracted  in  the  form  of  a  lump,  and  this  should  be  meditated 
upon  in  the  Bimba  (icon-circle).  By  this  process  the  transcendental 
knowledge  is  suddenly  realised  by  the  worshipper  and  is  known  as 
Samadhi  (visualisation). 

For  the  purpose  of  visualisation  it  is  necessary  that  the  process  should 
be  continued  for  six  months  and  this  is  done  according  to  the  Guhyas- 
amaja  always  while  enjoying  all  kinds  of  desired  objects  If  within  six 
months  the  deity  does  not  show  herself  the  process  should  be  repeated 
thrice  while  following  the  rules  of  restraint  duly  prescribed.  If  the  deity 
is  not  visualised  even  after  this,  it  should  be  forced  by  the  practice  of 
Hathayoga.  By  this  Yoga  the  ascetic  most  certainly  attains  the  know- 
ledge of  the  deity. 

The  above  incidentally  shows  what  part  is  played  by  Rajayoga  and 
Hathayoga  in  the  process  for  the  realisation  of  the  deity.  It  shows  also 
that  the  Tantra  begins  where  Yoga  ends.  Therefore,  the  worshippers 
of  the  deity  must  first  be  adepts  in  Yoga  before  they  make  an  attempt 


INTRODUCTION  27 

to  follow  the  more  advanced  science  of  the  Tantra  which  obviously, 
is  not  meant  for  ordinary  people.  The  conception  of  godhead  in 
Buddhist  as  well  as  in  the  Hindu  Tantra  is  thus  philosophically 
most  profound. 

The  individual  soul  is  variously  called  the  Bodhisattva  (  Bodhi 
Essence),  Bodhicitta  (Will  to  Enlightenment),  Jivatman  (individual  soul) 
while  the  Infinite  or  the  Universal  soul  is  variously  known  as  Sunya 
Brahma  and  Paramatman.  When  they  combine  in  the  state  of  the 
highest  meditation  and  concentration,  an  artificial  condition  akin  to 
deep  sleep  is  brought  about,  and  the  deity  appears  in  the  mind  sky  in 
flashes  and  sparks.  The  nature  of  the  Jivatman  being  finite,  it  is  not 
possible  to  realise  the  Infinite  in  its  entirety,  that  is  to  say,  the  result  of 
the  mystic  experience  of  the  Jivatman  also  remains  finite.  And  as  the 
object  for  which  the  worshipper  sits  in  meditation  is  different  in  differ- 
ent cases  the  deity  visualised  also  becomes  different.  It  is  the  Bhavana 
(desire)  of  the  worshipper  which  is  of  the  nature  of  a  psychic  force 
that  reacts  on  the  Infinite  Energy,  giving  rise  to  different  manifestations 
according  to  the  nature  of  the  reaction.  The  nature  of  this  reaction  is  of 
illimitable  variety  and  thus  the  resultant  deity  also  appears  in  an  infinite 
variety  of  forms,  and  this  seems  to  be  the  chief  reason  why  we  find  gods 
and  goddesses  of  different  forms  in  the  pantheons  of  both  the  Buddhists 
and  the  Hindus.  The  ascetic  who  visualises  a  particular  deity,  generally 
makes  it  a  rule  to  record  the  process  by  which  the  visualisation  of  a 
particular  deity  took  place,  for  the  benefit  of  his  disciples  in  order  that 
the  latter  may  realise  the  deity  in  the  easiest  and  most  efficient  manner. 

The  Infinite  Energy  is  frilnva  in  Vajrayana^jmd  this  Sunya  is  invoked 
by  the  worshippers  of  different  classes  with  different  desires  and  differ^ 
ent  degrees  otjnental  development.  As  Sunya  isinvoked  in  for  thou- 
sandandjane  purposes,  it  manifests  itself  in  thousand  and  jane^jwayj^ 
in  thousand  and  onejorms,  and  it  is  precisely  in  this  manner  that  the 
numbeFof  deitiesin  the  Buddhist  pantheon  increased  to  an  enormous 
extentT^TKe  psychic  exercise  prescribed  in  the  case  of  different  deities 
is  different  in  the  Sadhanas.  The  Sadhanas  become  less  or  more  difficult 
according  to  the  mental  capacity  of  the  worshippers,  who  are  generally 
classified  as  High,  Middling  or  Low.  The  regulation  of  life  in  the  case 
of  the  worshippers  of  different  classes  become  more  or  less  stringent 
according  to  the  degree  of  psychic  progress. 

In  the  realisation  of  the  deity,  there  are  thus  three  elements,  the 
worshipper,  the  deity  and  their  connecd9D_Q£_Jsientity.  These  are 
fiamed  ifr~Tfi5~TanirIc  works  as  the  Bodhicitta,  the  Mantrapurusa 
(Mantra  body)  and  the  Ahamkara  (identity).  The  worshipper  is  called 
the  Bodhisattva  (Bodhi  essence),  and ,  his  mind  is  known  as  the  Bodhi* 


28  INTRODUCTION 

citta  (Will  to  Enlightenment).  The  deity  is  the  embodiment  of  the 
cluster  of  letters  contained  in  a  Mantra  which  are  dynamized  by  exces- 
sive concentration  and  repetition.  The  sacred  words  or  letters  set  up 
strong  vibrations  and  ultimately  condense  themselves  in  the  form  of 
deities  and  this  is  called  the  Mantrapurusa  (Mantra  body)  or  Mantra 
person.  But  before  the  Mantra  person  is  visualised  there  must  always 
be  a  complete  identity  between  the  Bodhiciita  and  the  Mantrapurusa. 
The  subject  is  both  interesting  and  important  for  the  study  of  gods  and 
goddesses,  and  therefore  merits  a  detailed  treatment. 

The  Vajrayana  conception  of  the  Bodhi  mind  appears  to  be  the  same 
as  advocated  in  Yogacara,  an  idea  of  which  can  be  gained  by  a  reference 
to  the  Tattvasahgraha  of  Santaraksita.  The  Bodhi  mind  is  like  a  conti- 
nuous stream  of  consciousness  which  changes  every  moment^  the 
consciousness  of  the  previous  moment  giving  rise  to  or  causing  the 
consciousness  of  the  succeeding  moment.  The  chain  of  momentary 
consciousness  which  is  without  a  beginning  or  an  end,  operating  in 
unison  with  the  all  powerful  act-force  leads  it  either  to  degradation  or 
to  emancipation  according  as  the  actions  done  are  good  or  bad.  The 
Bodhi  mind  is  by  nature  surcharged  with  impurities  such  as  desire, 
memory,  existence,  non-existence,  subject,  object  and  the  rest  which 
are  all  unreal.  To  purify  this  chain  of  consciousness  is  the  sole  aim  of 
the  Bodhisattva,  but  so  long  as  impurities  are  not  removed,  it  will  be 
subject  to  a  series  of  transmigrations  either  in  the  world  of  gods  or  men, 
or  of  animals,  birds,  ghosts  and  demons. 

According  as  the  impurities  are  removed  one  after  another,  the 
Bodhi  mind  commences  an  upward  march  in  the  different  spiritual 
spheres,  called  Bhumis,  and  stays  in  them  only  so  long  as  it  is  not 
qualified  to  ascend  to  a  higher  sphere.  The  number  of  Bhumis  are 
recognized  generally  as  ten  and  the  Sutra  which  describes  them  is  called 
the  Dasabhumika  Sutra.  The  Bodhi  mind  obtains  emancipation,  or  in 
other  words  when  it  crosses  the  ten  Bhumis  mentioned  above,  it  is 
rewarded  with  moniscience.  These  Bhumis  are  not  meant  for  the 
Hinayanists  but  were  exclusively  designed  for  the  Mahayanists  who  are 
the  real  Bodhisattvas.  No  Buddhist  will  be  called  a  Bodhisattva  who 
has  no  compassion  for  suffering  humanity  or  who  will  not  be  prepared 
to  sacrifice  his  all  for  the  benefit  of  others,  The  Vajrayanist  concep- 
tion is  the  same,  and  it  defines  Bodhi  mind  as  one  where  Sunya  and 
Karuna  (compassion)  work  in  unison.  In  the  eye  of  a  Vajrayanist  the 
external  world  has  much  the  same  significance  as  it  appears  in  Yogacara. 
The  Tantras  characterize  the  external  world  with  its  movable  and 
immovable  objects  like  a  pot,  picture,  carriage,  house,  stone-house, 
mountains  and  the  rest  as  reduced  by  reason  to  mere  appearances,  in 


INTRODUCTION  29 

the  same  way  as  magic  and  dream  are  considered  to  be  appearances. 
Therefore,  the  Vajrayanists  hold  that  external  objects  have  no  greater 
reality  than  magic,  mirage,  shadow  or  dream,  and  their  reality  cannot 
be  proved  by  reason. 

The  Mantras  or  mystic  syllables  constitute  the  backbone  of 
Vajrayana  worship,  and  are  of  illimitable  varieties.  The  Mantras  are 
mostly  unmeaning  words  but  they  sometimes  reveal  the  influence  of 
some  unknown  language.  The  Vajrayanists  maintain  that  the  Mantras 
are  endowed  with  great  powers.  "What  is  there  impossible"  they  say, 
"For  the  Mantras  to  perform  if  they  are  applied  according  to  rules  ?" 
It  is  also  said  that  through  repeated  mutterings  of  the  MantrdS  such 
power  is  generated  that  it  can  astonish  the  whole  world.  The  Mantra 
has  power  even  to  confer  Buddhahood  or  omniscience.  The  merits 
that  accrue  from  the  repetitions  of  the  Mantra  of  Mahakala  are  so 
numerous  that  all  the  Buddhas  taken  together  cannot  count  them  even 
if  they  were  to  count  without  celadon  for  a  number  of  days  and 
nights.  By  the  DharanI  of  Avalokitesvara  even  an  ass  can  memorize 
three  hundred  verses.  The  Mantra  of  Ekajata  is  said  tQ  be  so  powerful 
that  the  moment  it  is  uttered  a  man  becomes  free  from  danger,  he  is 
always  followed  by  good  iortune  and  his  enemies  are  all  destroyed. 
The  repetition  of  the  rnantra  is  however  to  be  done  with  the  greatest 
care,  for  instance,  it  should  not  be  muttered  too  quickly  nor  too 
slowly.  The  mind  at  the  time  of  repetition  should  be  concentrated 
on  the  letters  of  the  Mantra  and  should  be  free  from  all  evil  thoughts, 
and  the  mantra  should  not  be  repeated  when  the  mind  is  fatigued 
or  tired. 

Thus  it  can  be  seen  that  the  Vajrayanists  believed  that  the  Mantras 
were  endowed  with  dynamic  power.  Their  power  consisted  in  the 
arrangement  of  the  syllables,  the  purity  of  which  is  to  be  guarded  with 
the  greatest  care.  The  Mantra  is  required  to  be  received  with  proper 
ceremonies  from  a  competent  preceptor.  The  Mantra  is  powerful 
when  it  comes  from  a  preceptor  who  is  pure,  and  has  repeated  conti- 
nuously so  as  to  visualize  the  Mantra  person  or  the  deity  sacred  to  the 
Mantra.  The  letters  of  the  Mantra  can  only  be  dynamized  by  conti- 
nual repetition  by  day  and  at  night  until  the  deity  is  visualized.  When 
the  Mantra  becomes  powerful  the  vibrations  let  loose  by  the  Bodhi 
mind  react  on  the  universal  Sunya  which  explodes  in  consequence  in 
the  divine  form  of  the  deity  and  appears  before  his  mind  sky.  Accor* 
ding  as  the  calling  signal  is  different  in  different  cases  the  deity  becomes 
different,  and  thus  its  number  increases.  The  deities  are  nothing  but 
the  forms  created  by  the  force  of  word  or  letter  vibrations,  and  by 
continuous  practice  anyone  can  visualise  the  deity.  The  Mantra  idea 


30  INTRODUCTION 

is  not  only  logically  correct  but  also  philosophically  profound. 

The  relation  between  the  caller  and  the  calling  deity  is  one  of  identi- 
fication. It  is  called  Ahamkara  or  the  identity  of  the  Bodhi  mind  with 
the  deity,  the  manifestation  of  Sunya  or  the  ultimate  reality,  The 
identity  is  established  with  the  Mantra  "I  am  the  goddess  and  the 
goddess  is  in  me".  The  worshipper  should  conceive  himself  as  the  deity 
with  the  same  complexion,  form  and  limbs  as  described  in  the  Sadhana 
and  should,  instead  of  worshipping  any  external  object,  worship  himself. 
The  Bodhi  mind  and  the  deity  apparently  signify  duality  but  their 
| duality  disappears  with  enlightenment.  The  Bodhi  mind  is  of  the 
nature  of  Sunya  and  the  deity  is  a  manifestation  of  Sunya  and,  therefore, 
both  have  the  same  origin.  But  to  realise  that  the  two  are  the  same 
requires  perfect  knowledge.  Continuous  meditation  and  austerities 
enable  the  worshipper  to  shed  the  veil  of  ignorance  which  makes 
one  thing  appear  as  two.  The  Bodhi  mind  is  further  called  Karuna 
(compassion)  and  the  ultimate  reality  as  Sunyata,  and  when  the  two 
commingle,  it  is  called  Advaya  or  non-duality.  As  copper  leaves  its 
dirty  colour  (and  become  gold)  when  it  comes  in  contact  with  the 
magic  tincture  (of  alchemy),  even  so,  the  body  leaves  off  its  attachment, 
hatred,  etc.  when  it  comes  in  contact  with  the  tincture  of  Advaya.  This 
Advaya  is  a  form  of  cognition  where  the  Bodhi  mind  commingles  with 
Sunya  and  becomes  one  with  it.  To  symbolize  this  principle  Vajrayana 
brought  in  the  conception  of  the  Yab-yum  form  of  deities  in  which  the 
deity  appears  locked  in  close  embrace  with  his  Sakti  or  the  female  coun- 
terpart. When  the  deity  is  single,  it  means  that  the  female  counterpart 
has  merged  into  the  deity  even  as  salt  melts  in  water.  The  deity  is 
•Sunya  and  the  female  principle  is  the  Bodhi  mind,  or  the  first  is  the 
ultimate  reality  and  the  female  is  Karuna  (compassion).  The  Bodhi 
mind  can  become  ultimate  reality  through  the  one  principle  of  Karuna. 
This  Karuna  is  symbolized  in  the  form  of  Avalokitesvara,  the  great  com- 
passionate Bodhisattva  who  sacrificed  his  Nirvana  in  order  to  serve  his 
fellowmen. 

From  the  foregoing  even  a  casual  observer"  can  find  that  theVajrayan- 
ists  formulated  the  principle  that  behind  the  creation  there  is  arTinSomj- 
tablewill  which  multiplies  in  the  formof  words  and  gradually  con- 
densethemselves  in  the  form  of  the_dejtj^  The  iemale  counterpart  is 
a  further  grossenirig  process.*  T&JSLJS  the  creative  process,  grossening 
process  andAe  process  of  evolution.)  This  process  can  only  be  stopped 
by  the  princijpIeTof  Karuna  Tcompassion)  which  gradually  leads  the 
Bodhi  mind  to  soar  higher  and  higher,  and  to  become  finer  and  thinner 
before  it  merges  in  £unya.  According  jo  Vajrayana,  therefore,  the 


INTRODUCTION  31 

reverse  process  of  involution  starts  only  when  the  Bodhi  mind    is    sur* 
charged  with  Karuna  or  compassion. 

5.     The  Pantheon. 

The  word  Pantheon  is  derived  from  pan — all,  and  theos— god  and 
therefore,  concerns  itself  with  all  gods  belonging  to  a  community  follow- 
ing the  same  religion.  In  Hinayana  or  Primitive  Buddhism  there  was 
no  pantheon  to  which  worship  was  offered  by  any  Buddhist.  But  in 
Mahay  an  a  a  large  number  of  deities  was  included  and  later,  in  its  more 
advanced  form  of  Vajrayana  this  pantheon  became  surprisingly  large 
with  deities  of  every  description.  \  Virtually,  there  was  an  epedemic  of 
deification  in  which  every  philosophical  dogma,  ritualistic  literature,  abs^ 
tract  ideas,  human  qualities,  even  desires  such  as  sleeping,  yawning,  and 
sneezing  were  deified  or  given  a  deity  form. 

The  varied,  extensive,  and  diversified  pantheon  of  the  Northern 
Buddhists  owes  its  origin  to  Tantric  Buddhism  or  Vajrayana.  There 
are  certain  indications  that  Buddhism  had  no  pantheon  before  Tantrism 
was  well  established.  In  very  early  days  Buddhism  recognised  thirty- 
three  gods  of  the  Hindus  who  were  the  residents  of  the  Trayastrimsa 
Heaven  which  is  one  of  the  Rupa  heavens.  Buddha  did  not  believe  in 
gods  or  worship,  and  in  the  Saundarananda  Kavya  of  Asvaghosa  we 
find  Buddha  discouraging  his  half-brother  Nanda  to  touch  his  feet  in 
token  of  worship.  He  told  Nanda  that  he  would  not  be  in  the  least 
pleased  by  Nanda's  taking  the  dust  of  his  feet,  but  he  would  bless  him  if 
he  would  follow  the  precepts  of  true  Saddharma.  Buddha  was  deified 
in  Mahayana  which  considered  him  to  be  Lokottara  or  superhuman. }  In 
Buddnist  art  also  Jbfruddha  images  are  not  met  with  in  the  earlier  schools 
such  as  J3anchi  and  Bharhut,  and  it  is  believed  that  the  Graeco-Buddhists 
of  Gandhara  were  the  first  to  carve  out  his  image  in  stone.\  This  is  the 
view  held  by  the  celebrate3  French  archaeologist  Professor  A.  Foucher.  2 
In  Bharhut  and  Sanchi  scenes  connected  with  the  life  of  the  Buddha, 
such  as  the  dream  of  his  mother  Mayadev!  (fig.  1),  and  the  symbols  of 
Buddha  like  the  Bodhi  Tree,  his  head-dress  his  foot-prints  (figs,  2, 3,4,  5), 
and  the  rest  used  to  be  freely  represented,  but  his  actual  likeness  was 
regarded  as  too  scared  to  admit  of  representation.  Dr.  Coomaraswamy 
on  the  other  hand  has  shown  that  the  Mathura  school  of  sculpture  can 
have  an  equally  strong  claim  to  antiquity  and  probably  for  carving  out 
the  first  image  of  Buddha.  These  are  great  authorities  and  it  is  not 
possible  here  to  examine  their  theories  in  detail.  For  the  present  work 
it  is  immaterial  whether  the  claim  for  carving  out  the  first  image  of 


1.  Kern  ;     Manual  of  Buddhism,  p.  3 

2.  Beginnings  of  Buddhist  Art,  p.  127. 


32  INTRODUCTION 

Buddha  is  established  in  favour  ofjsither  Gandhara  QjlMathura.  It  is 
enough  to  know  that  there  are  many  images  of  Buddha  in  these  two 
schools  of  art. 

Besides  the  sacred  symbols  connected  with  Buddha's  life  and 
teachings,  worship  was  offered  by  the  Buddhists  to  numerous  other 
objects.  One  of  the  most  important  among  these  objects  is  the  Stupa 
which  is  regarded  as  the  embodiment  of  the  Buddhis^lJmv^  with 
all  the  heavens  as  conceived  in  Buddhism  The  stupas  received  worship 
even  in  the  life-time  of  theBy^Ih^^and  continued  throughout  the 
centuries  after  his  Mahaparinirvana  J  Such  stupas  are  found  in  abun- 
dance in  the  Buddhist  countries,  and  a  few  celebrated  stupas  in  Nepal 
are  illustrated  here  in  (Figs.  6,  7,  8)  They  are  the  Stupas  of  the 
Svayambhunatha  (twlgo-Simbhu),  the  Bodhnath  and  Kathe  Simbhu. 
Besides  the  Stupas,  the  Three  Jewels  of  Buddhism,  known  by  the  names 

of  the   Rutjflha, Dharma   and    Sangha    were   conceived  in  the   form  of 

deities  a ri  (Twors hip  wa s" freely  offered  to  them  by  the  Buddhists  in  both 
symbolic  and  human  forms  The  images  of  the  Holy  Triad  as  obtained 
in  Nepal  are  here  illustrated.  (Figs.  9,  10,  11).  Out  of  the  three, 
one  Dharma  is  a  goddess. 

Later,  a  number  of  gods  and  goddesses  are  described  in  the 
Manjusrimulakalpa  which  is  believed  to  be  an  earlier  work  than  the 
Guhyasamaja  which  is  dated  circa  A.  D,  300 ]  Again  in  the  Prajna- 
paramita  Buddha  is  worshipped  elaborately  with  diverse  paraphernalia 
of  worship.  But  even  then  it  does  not  seem  clear  that  Buddhism  at 
this  time  had  any  conception  of  a  well-defined  and  well-classified 
pantheon.  It  is  in  the  Guhvasamaja  that  the  idea  of  a  pantheon, 
rationally  classified,  is  properly  and  systematically  crystallised.  _JHej£e 
for  the  first  time  are  found  the  descriptions  of  the  five  Dhyani  Buddhas, 
tngi£_  rnantras,  their  Mandalas^  and  their  baktis  or  remale^gjnitprparti 
These  Dhyani  Buddhas  represent  the  five  Skandhas  or  the  five  cosmic 
elements  of  which  the  world  is  composed.  They  are  here  described 
as  the  progenitors  of  the  five  Kulas  or  families  of  gods  and  goddesses. 
The  families  owe  allegiance  to  their  progenitors  who  are  known  as 
Kulesas  or  Lords  of  Families.  In  the  Guhyasamaja  it  is  said  : 

"The  five  Kulas  (families)  are  the  Dvesa  (hatred),  Moha  (delusion), 
Raga  (attachment),  Cintamani  (Wishing  Gem),  and  Samaya,  (convention) 
which  conduce  to  the  attainment  of  all  desires  and  emancipation."  - 

The  emanations  or  offsprings  of  these  Dhyani  Buddhas  constitute 
their  families.  It  is  in  this  way  that  the  Buddhists  built  a  well-classified 
pantheon  with  its  multiplicity  of  gods  and  goddesses,  and  when  these 

1.  See  the  discussion  on  the  subject  in  Guhyasamaja,  intro.  p.  XXXVI— XXXVII. 

2.  Guhyasamaja  :  p.  6. 


Fig.   1   Maya's  Dream. 

(    RJi^rhryf   \ 


SYMBOL-WORSHIP 


Fig.   2  Bodhi  Tree. 
(  Amaravati  ) 


34  INTRODUCTION 

were  represented  in  art,  they  were  required  to  show  their  origin  by 
holding  on  their  heads  the  miniature  figure  of  their  parental  Dhyani 
Buddha.  Every  deity  almost  without  exception  was  given  various 
forms  with  two,  four,  six,  eight,  ten,  twelve,  sixteen  and  even  more 
hands,  and  proportionately  one  head  to  three,  four,  six,  and  eight 
heads.  They  were  given  different  colours,  different  expressions  and 
different  companions  according  as  they  were  worshipped  in  the  differ* 
ent  Tantric  rites  and  according  as  they  were  required  to  discharge 
different  functions,  from  curing  a  disease  to  the  killing  of  an  enemy. 
The  artists  had  a  considerable  hand  in  executing  the  images  and  they 
introduced  their  own  traditions,  provincialisms  and  innovations  The 
votaries  also  according  as  they  wanted  to  have  their  gods  in  a  powerful 
form,  added  extra  hands ,  heads  and  feet  to  suit  their  own  ideas 
and  whims,  and  it  is  precisely  in  this  way  that  the  deities  increased  to  an 
amazing  number. 

The  Guhyasamaja  or  the  Tantra  of  Secret  Communion  which  is 
perhaps  the  first  book  inculcating  Vajrayana  philosophy  of  Mahasukha 
is  a  product  of  circa  300'A.D.  which  is  the  time  of  Asanga.  Quite 
naturally  the  Tantra  could  not  get  publicity  as  the  public  mind  was  not 
prepared  to  receive  the  revolutionary  innovations  introduced  in  it. 
Thus  thf  Tonfra  wj*nt  into  private  hands  and  was  handed  down  through 
an  unbroken  cbnin  r>f  Hums  ^nrl  disciples  for  thr^  hnndtw]  ypQrg  1>r> 
the  most  secret  manner  possible.  It  obtained  publicity  through  the 
teachings  and  mystic  songs  of  the  Buddhist  Vajracaryyas  or  Siddhas  in 
about  the  middle  of  the  7th  century.  It  is  for  this  reason  that 
references  to  the  pantheon  in  the  general  Buddhistic  literature  are  not 
n^T"wi^  nor  the  accounts  of  the 

Chinese  travellers  show  much  acquaintance  with  the  pantheon,  when 
they  came  to  India  to  investigate  the  condition  of  Buddhism  in  India, 
Despite  this  certain  names  of  Buddhist  gods  and  goddesses  are  indeed 
met  with  in  their  writings,  though  they  do  not  pertain  to  the  well 
classified  pantheon  referred  to  above.  In  the  SukhayatT  Vynhfl  \yjrfch 
was  translated  into  Chinese  between  A.  D.  148*170  the  name  of 
Amitabha  appears  for  the  first  time  as  the  presiding  deity  of  the 
Sukhavati  or  thc_Akanistha  heaven  where  he  is  believed  to  have  brought 
forth  Avalokitesyara  into  existence.*  It  should  be  remembered  that 
in  fKe  Vajrayana  works  also  this  heaven  has  been  characterized  as 
the  abode  of  all  gods  and  goddesses.  In  the  smaller  recension  of  the 
Sukhavati  Vyuha  which  was  translated  into  Chinese  between  A.  D. 
417  mention  is  made  of  two  more  gods  namely  Aksobhya  as  a 


Sukhavati  Vyuha,  pp.    1,   28,   32. 


INTRODUCTION  35 

Tathagatajand  ManjusrL_as  a^Bodhisattva^  Fa-Hien  (A.  D.  394-414) 
mentions  the  names  of  MaSjusrT; Avalokteesvara,  and  the  future 
Buddha  Maitreya,  while  Yuan  Cbwang  (629-645  A.  D.)  refers  to  the 
names  of  Avalokitesvara,  Harlti,  Ksitigarbha,  Maitreya,  Manjusn, 
Padmapani,  Vaisravana,  Sakya  Buddha,  £akya  Bodhisattva,  and  Yama 
together  with  such  deified  saints  as  Asvaghosa,  Nagarjuna,  Asahga, 
Sumedhas  and  others.  I-Tsing  (671-695  A.D.)  mentions  the  names  of 
Avalokitesvara,  Amitayus,  Hariti,  the  Catur-Mahafajikas,  Maitreya, 
Manjusri  and  Yama  besides  several  others.  Santideva  (695-730  A.D.) 
in  his  oiksasamuccaya  mentions  the  names  of  Aksobhya  as  a  Tathagata, 
Gaganaganja  as  a  Bodhisattva,  Simhavikridita  as  a  Tathagata,  Cunda, 
Trisamayaraja,  Marici,  Simhanada,  Manjughosa  and  many  others.  ] 
After  Santideva  the  Tantra  of  the  Buddhists  got  wide  publicity,  and 
the  Tantric  works  written  after  his  time  all  referred  to  the  pantheon 
and  described  numerous  gods,  especially  the  Dhyani  Buddhas  a  definite 
product  of  Tantric  Buddhism.  The  Sadhana  literatuie  which  describes 
the  forms  of  gods  and  goddesses  and  lays  down  the  procedure  for 
worshipping  them  was  developed  by  the  Mahasiddhas  or  great  magi- 
cians like  Saraha,  Nagarjuna,  Sabaripa,  Anahgavajra,  Indrabhuti  and 
others,  although  it  is  very  probable  that  the  earliest  Sadhana  was 
composed  by  Asanga  who  flourished  in  circa  300  A.D.  In  the  Sadhana 
attributed  to  Asanga  the  Dhyani  Buddhas  and  their  emanations  are 
referred  to. 

When  a  reference  is  made  to  the  numerous  images  executed  in  the 
different  schools  of  art  it  also  becomes  palpable  that  the  Buddhist 
pantheon  was  not  well  developed  before  the  Tantras  got  wide  publicity 
injiboutjthe  middle  of  the  7th  century  AT)i  InTKe  Gandhara  school, 
for  instance,  Jbesides  the  Buddha  images,  there  are  images  of  Jambhala 
Kubera,  Indra,  Maitreya,  Haritl  and  several  unidentified  Bodhisattva 
images.  In  the  Mathura  school  which  was  either  contemporaneous 
or  somewhat  later  than  the  Gandhara  school  there  are  numerous 
Buddha  and  Bodhisattva  images  along  with  those  of  Kubera,  the  Yaksas 
and  Nagas.  The  Mathura  school  extended  to  the  early  Gupta  period2 
and  here  also  later  Buddhist  images  of  Tantric  flavour  are  not  met 
with.  Not  even  the  images  of  Avalokitesvara,  Manjusri  are  to  be 
found  in  this  school.  The  case  of  the  later  Magadha  school  however, 
is  otherwise.  The  Magadha  school  included  the  images  found  in 
Sarnath,  Nalanda,  Odantapuri,  Kurkihar,  Gaya  and  other  ancient 
sites  in  Bihar.  The  most  flourishing  period  of  the  Magadha  school 

1.  Bendall's  introduction  to  Siksaasmuccaya,  p.  V. 

2.  Vogel :  The  Mathura  School  of  Sculpture  in  A.S  I.  Annual  Report,  1906-7,  p.  145. 


36 


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38  INTRODUCTION 

was  contemporaneous  with  the  reign  of  the  Pala  kings  of  Bengal  and 
lasted  till  the  Muhammadan  ^conquest  of  Bihar  and  Bengal  in  the 
beginning  of  the  thirteenth  century  A.  D.  In  the  Magadha  school  aj£ 
to  be  found  a  ^definite  evidence  of  the  existence  of  a  well  classified 
pantKeoirTas  conceive3"lrrVajrayana  Buddhism.  In  most  of  the  images 
there  are  figures  of  five  Dhyani  Buddhas  on  the  halo  round  the  head 
of  the  principal  deity,  as  also  others  with  miniature  figures  of  Dhyani 
Buddhas  on  the  crown  to  indicate  the  origin  of  the  deity  installed. 
Again,  unlike  the  Mathura  and  Gandhara  schools  there  is  a  distinct 
dearth  of  Buddha  images  in  later  schools  of  art,  and  even  when  he  is 
represented,  he  takes  the  semi-mythical  form  of  Vajrasana  being 
flanked  by  Avalokitesvara  and  Maitreya  on  two  sides.  In  the  Magadha 
school  therefore  Buddha  lost  his  original  importance  and  became 
similar  to  the  Dhyani  Buddha  Aksobhya  as  is  evident  from  the 
numerous  Sadhanas  dedicated  to  the  worship  of  Vajrasana  Buddha 
with  the  earth  touching  signal.  The  Bodhisattva  images  are  also  not 
so  stereotyped  as  they  are  found  either  in  Gandhara  or  in  Mathura. 
The  Magadha  school  is  characterised  by  its  wide  variety  of  images  of 
gods  and  goddesses  and  this  will  be  apparent  to  any  visitor  who  visits 
the  museums  at  Sarnath,  Nalanda,  Patna,  or  even  at  Calcutta,  and 
takes  a  round  in  the  extensive  ruins  of  the  Odantapuri  Vihara  (Modern 
Bihar)  on  the  Bakhtiyarpur  Bihar  Light  Railway.  The  same  is  the 
case  with  the  ruins  of  Gaya,  Kurkihar,  Sahet-Mahet  and  Kasia.  At 
Sarnath,  the  contents  of  the  museum  are  rich  with  such  interesting 
and  symbolic  images  as  Sadaksari  Lokesvara,  Ucchusma  Jambhala, 
Manjusri,  Tara,  Vasudhara,  Marlci,  all  the  Five  Dhyani  Buddhas, 
Vajrasattva  the  sixth  Dhyani  Buddha  and  numerous  others  belonging 
to  the  Vajrayana  pantheon.  Nalanda  images  are  enriched  with  the 
same  deities  as  are  found  in  Sarnath. 

The  Bengal  school  which  is  contemporaneous  with  the  Magadha 
school  is  distinguished  by  the  high  class  of  art  it  developed  and  for  its 
beauty  of  execution.  Its  flourishing  period  ranged  from  the  10th  century 
till  the  conquest  of  Bengal  by  the  Muhammadans.  Many  of  the 
specimens  of  the  Bengal  school  are  preserved  in  the  museums  at 
Calcutta,  Dacca,  Rajshahi,  and  the  Vangiya  Sahitya  Parishad,  and  a 
large  number  of  them  are  scattered  about  in  the  Pargana  Vikrampur 
and  in  the  districts  of  Dinajpur,  Rajshahi,  Birbhum  and  Comilla.  In 
this  school  many  interesting  and  unique  specimens  of  images  belonging 
to  Tantric  Buddhism  are  met  with.  From  the  above  it  becomes 
clear  that  the  artists  were  acquainted  with  the  descriptions  of  deities 
as  given  in  the  Sadhana  literature,  because  the  images  and  the  Dhyanas 
as  given  in  the  Sadhana  coincide  most  remarkably.  In  this  school 


INTRODUCTION  39 

• 

are  to  be  found  such  images  as  Heruka,  Vasudhara,  Jambhala,  Arapa- 
cana,  Khasarpana,  Parnasabari,  Simhanada,  Manjuvara,  Aparajita, 
Mahapratisara,  Nairatma,  Sadaksan  Lokesvara,  Mahasri  Tara,  Khadi- 
ravani  Tara  along  with  many  others  too  numerous  to  mention.  Scholars 
desirous  of  having  more  information  on  the  subject  are  recommended 
to  refer  to  the  excellent  work  of  Dr.  N.  K.  Bhattasali,  entitled, 
The  Iconography  of  Buddhist  and  Brhamanical  Sculptures  in  the  Dacca 
Museum  where  incidentally  images  discovered  elsewhere  in  Eastern 
Bengal  have  also  been  treated.  Another  monumental  work  on  the 
subject  is  R.  D.  Banerji's  Eastern  Indian  School  of  Mediceval  Sculpture, 
published  by  the  Archaeological  Department  of  the  Government 
of  India. 

The  images  of  Buddhist  deities  found  at  Ajanta,  Ellora  and  the  cave 
temples  of  Western  India  show  signs  of  immature  Tantra  and  may  be 
assigned  to  a  period  before  the  7th  century  A.  D.  although  some  of 
the  paintings  and  sculptures  are  of  long  antiquity.  It  does  not  seem 
that  the  Tantras  were  very  popular  with  the  Buddhists  of  Western 
India  or  that  they  were  influenced  by  the  teachings  of  the  Tantra  which 
was  mainly  a  product  of  Eastern  India.  Had  it  not  been  so,  the  cave 
temples  would  have  at  least  exhibited  some  of  the  Tantric  deities  such 
as  Manjusrl,  Tara,  Khasarpana,  Jambhala,  Prajnaparamita  and  others. 
The  Javanese  art  seems  to  have  been  profoundly  influenced  by  the 
Bengal  school,  and  the  images  of  gods  and  goddesses  as  found  in  the 
Borobudur  temple  show  that  they  were  acquainted  with  many  deities 
of  the  Vajrayana  pantheon  As  Vajrayana  was  mainly  a  product  of 
Bengal  it  is  probable  that  colonists  carried  their  art  and  religion  to  Java 
and  Indonesia  by  the  sea  route,  probably  from  the  sea^port  atTamralipti 
or  from  Chittagong  and  Orissa.  The  Prajnaparamita  image  produced 
in  the  Javanese  school  has  been  acclaimed  as  one  of  the  finest  specimens 
of  eastern  art,  ancient  or  modern. 

After  the  destruction  of  Buddhism  from  India  the  priests  of  the 
celebrated  monasteries  of  Bengal  and  Magadha  who  could  save  their 
heads  from  the  hostile  sword  of  the  Muhammadans,  fled  to  Nepal 
which  is  protected  on  all  sides  by  the  mighty  walls  of  the  Himalayan 
mountains,  and  took  refuge  in  that  country,  and  thus  kept  the  torch 
of  Buddhism  still  burning  there.  The  Bengal  school  of  art  which  was 
carried  by  the  priests  was  soon  modified  into  a  typical  Nepalese  art 
when  it  came  in  contact  with  the  native  artists,  and  thus  became 
stereotyped.  But  after  the  18th  century  it  became  debased  and  crude. 
The  general  impression  of  the  visitor  who  inspects  the  numerous 
monasteries  in  Nepal  which  are  the  repositories  of  Buddhist  images 
of  diverse  kinds,  is  that  the  dreamy  sweetness  and  the  sublime  beauty 


40 


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INTRODUCTION  41 

of  the  Bengal  school  could  not  be  preserved  in  Nepal,  although  earlier 
specimens  of  really  good  art  are  not  at  all  wanting  in  the  Nepal  school. 
The  followers  of  Vajrayana  who  went  to  Nepal  in  order  to  make 
sure  of  their  existence  converted  a  good  many  Newars  of  the  land 
to  Buddhism  and  carved  out  innumerable  images  of  gods  and  goddesses 
in  stone,  metal  or  wood,  so  much  so,  that  a  student  of  iconography 
is  overwhelmed  at  their  wealth  and  variety.  It  is  however  curious 
to  note  that  the  origin  of  almost  all  the  monasteries  in  Kathmandu, 
Bhatgaon,  and  Lalitapattan  dates  from  the  13th  century,  which  shows 
unmistakably  that  these  monasteries  were  founded  almost  immedia^ 
tely  after  the  Muhammadan  conquest  by  the  refugees  fleeing  from 
Eastern  India. 

The  cumulative  evidence  of  art,  history,  and  literature  leads  one 
to  believe  that  the  pantheon  of  the  Northern  Buddhists  was  not  widely 
known  before  the  7th  century  A.  D.  nor  was  the  underlying  philosophy, 
which  may  warrant  the  formation  of  a  pantheon,  well  developed 
before  that  time,  although  the  origin  of  it  is  definitely  earlier.  This 
may  be  explained  by  the  fact  that  the  Guhyasamaja  which  for  the  first 
time  inculcated  the  doctrine  of  the  five  Dhyani  Buddhas  and  their 
families,  was  composed  in  secret  and  transmitted  in  an  occult  manner 
for  about  three  hundred  years.  This  is  one  of  the  many  reasons  why 
neither  the  Guhyasamaja  Tantra  nor  the  Dhyani  Buddhas  nor  the 
varied  pantheon  of  Vajrayana  could  be  widely  known.  It  is  only  in 
the  Sadhana  of  Asahga  as  included  in  the  Sadhanamala  a  definite 
reference  to  the  five  Dhyani  Buddhas  and  their  families  is  to  be  met 
with,  and  for  that  reason  it  is  not  improbable  to  connect  Asahga 
with  the  introduction  of  the  very  Guhyasamaja  Tantra  itself.  The 
subsequent  writers  only  got  a  glimpse  of  what  filtered  through  the 
secret  but  very  popular  mystic  organisations.  After  the  7th  century 
secrecy  was  no  longer  necessary,  as  the  principles  of  Vajrayana  were 
then  fully  established  and  widely  spread  through  the  teachings  and 
mystic  songs  of  the  Siddhas  and  Mahasiddhas.  The  beautiful  images 
produced  by  the  priests  and  artists  made  the  teachings  doubly  attrac- 
tive. Great  men  came  forward  to  advocate  the  cause  of  Vajrayana. 
Chairs  for  the  study  and  teaching  of  Tantras  were  founded  in  the 
different  and  famous  centres  of  learning  such  as  Nalanda,  Odantapuri, 
Vikramaslla  and  Jagaddala.  Eminent  scholars  like  Santaraksita  worked 
as  professors  of  Tantra  in  the  world  famous  university  of  Nalanda. 


CHAPTER  I. 

DHYANI  AND  MORTAL  BUDDHAS. 

The  pantheon  of  the  Northern  Buddhists  revolves  round  the 
theory  of  the  five  Dhyani  Buddhas.  The  Buddhists  believe  that  the 
world  is  composed  of  five  cosmic  elements  or  Skandhas.  The  five 
Skandhas  are  Rupa  (form),  Vedana^  (sensation),  SamjnS  (name), 
Sahskara  (conformation)  and  Vijnana  (consciousness).  These  elements 
are  eternal  cosmic  forces  and  are  without  a  beginning  or  an  end. 
These  cosmic  forces  are  deified  in  Vajrayana  as  the  five  Dhyani 
Buddhas.  In  the  course  of  time  they  were  regarded  as  the  five 
primordial  gods  responsible  for  this  diversified  creation,  and  thus 
Vajrayana  took  a  polytheistic  form,  although  polytheism  can  hardly 
apply  to  a  system  which  considers  ounya  as  the  One,  Indivisible  and 
Ultimate  Reality.  But  so  long  as  form  could  not  be  given  to  Sunya 
as  an  anthropomorphic  deity,  the  system  of  five  Dhyani  Buddhas 
certainly  had  the  flavour  of  polytheism.  The  priests  and  the  Vajrayana 
authors  were  conscious  of  this  shortcoming,  especially  in  view  of  the 
fact  that  all  the  six  Hindu  systems  of  philosophy  tended  to  develop 
a  highly  monistic  philosophy.  They  tried  at  first  to  cure  this  defect 
by  the  theory  of  the  Kulas  (families),  and  Kulesas  (lord  of  families) 
of  gods  and  men,  and  thus  divided  everything  into  five  groups.  For 
each  group,  a  particular  Dhyani  Buddha  becomes  the  Kulesa  or  the 
primordial  lord,  all  other  groups  taking  their  origin  from  him* 
Another  grand  conception  of  the  Vajrayana  Buddhism  is  the  theory 
of  the  highest  god  Yajra^haira>  aJ?Q, ..ffd JggL  jjjkuddha,  the  primordial 
monotheistic  god  who  is  the  embodiment  ofSunya  to  whom  even 
the  Dhyani  Buddhas  owe  their  origin.  The  theory  originated  in  the 
Nalanda  monastery  in  about  the  10th  century.  l  Thereafter,  a  large 
number  of  images  of  Vajradhara  must  have  been  made  in  the  different 
schools  of  art.  The  special  Tantra  dedicated  to  Adibuddha  is  the 
Kalacakra  Tantra  which  appears  to  be  the  original  Tantra  in  which 
the  doctrine  of  Adibuddha  was  for  the  first  time  inculcated.  The 
Kalacakra  Tantra  thus  is  a  product  of  the  10th  century.  Vajradhara 
was  particularly  popular  in  Nepal  and  Tibet  where  numerous  images 

1.  The  idea  of  an  Adibuddha  originated  in  the  Nalanda  Monastery  in  the 
beginning  of  the  10th  Century  A.D.  See  JASB,  Vol.  II  (  1833 )  pp.  57  ff. 
Also  Vajradhara  Vs.  Vajrasattva  in  JBORS,  Vol.  IX,  pp.  114fF. 


DHYANI  AND  MORTAL  BUDDHAS  43 

of  this  primordial  god  are  to  be  met  with.  Alexander  Csoma  de  Koros 
places  the  introduction  of  this  conception  of  Adibuddha  in  Central 
Asia  in  the  latter  half  of  the  10th  century*  It  originated  at  Nalanda 
according  to  him  in  the  beginning  of  the  10th  century,  and  no  mention 
of  the  Adibuddha  cult  is  made  by  any  writer  prior  to  this  time. 
Homage  is  paid  to  Adibuddha  in  the  shape  of  a  flame  of  fire  which  the 
priests  consider  as  eternal,  selPbbrn  ~ancT~self*existent.  It  is  said  in 
tHe~~Svayambhti  Purana  that  Adibuddha  first  manifested  himself  in 
Nepal  in  the  form  of  a  flame  of  fire,  and  ManjusrI  erected  a  temple 
over  it  in  order  to  preserve  the  flame.  This  ancient  temple  is  known 
as  the  Svayambhu  Caitya. 

The  conception  of  Vajradhara  presupposes  Adibuddha  and,  there- 
fore, is  later  than  the  first  half  of  the  10th  century.  Vajrasattva,  being 
a  regular  development  of  the  Bodhisattva  Vajrapani  emanating  from 
the  Dhyani  Buddha  Aksobhya,  is  a  little  earlier,  although  the  conception 
of  Vajradhara  and  Vajrasattva  are  sometimes  inextricably  mixed  up. 
In  Vajrayana,  Adibuddha  is  regarded  as  the  highest  deity  of  the 
Buddhist  pantheon,  the  originator  even  of  the  five  Dhyani  Buddhas. 
When  represented  in  human  form,  he  begets  the  name  of  Vajradhara 
and  is  conceived  in  two  forms,  single  and  Yab-yum.  When  single,  he 
is  bedecked  in  jewels,  gaudy  ornaments  and  dress,  sits  in  the  Vajra' 
paryahka  or  the  attitude  of  meditation  with  the  two  feet  locked  with 
soles  of  the  feet  turned  upwards.  He  carries  the  Vajra  in  the  right 
hand  and  the  Ghanta  (bell)  in  the  left,  the  two  hands  being  crossed 
against  the  chest  in  what  is  known  as  the  Vajrahuhkara  Mudra 
(Fig  12).  The  Vajra  (thunderbolt)  here  is  the  symbol  for  the  ultimate 
reality  called  Sunya  while  the  bell  represnts  Prajna  or  wisdom  the 
sounds  of  which  travel  far  and  wide.  Sometimes  the  symbols  are  shown 
on  a  lotus  on  either  side,  the  Vajra  being  on  the  right  and  the  Ghanta 
in  the  left  (Fig  13).  In  Yab-yum,  his  form  remains  the  same  as  when 
single  except  that  here  he  is  locked  in  close  embrace  by  his  Sakti^or  the 
female  counterpart  whose  name  according  to  Getty  is  Prajnaparamita. 
The  Sakti  is  somewhat  smaller  lri"sizerTs  richly  dressed  and  bedecked 
in  ornarpents,  carrying  the  Kartri  (knife)  and  the  Kapala  (skull  cup)  in 
the  right  and  left  hands  respectively  (Figs.  14,  15).  In  these  figures  the 
Kartri  is  the  symbol  for  the  destruction  of  ignorance,  the  JCapala  stands 
for  oneness  absolute,  while  the  double  form  Yab^yum  represents  that 
the  distinction  between  duality  and  non^duality  is  unreal,  and  the  two 
mix  themselves  into  one  as  salt  mixes  in  water.  The_deitv^  Vajiradhara 
is  an  embodiment  ofthe  Jhdghest.  ^reality, ,  Sunya,  ^jljLJE^SlP^rai^ta 
represents  Karuna  (compassion)  and  in  close  embrace  they  turn  jntp 
one  Sunya  in  which  Karuna  merges,  and  the  duality  ceases.  Vajradhara 


44  BUDDHIST  ICONOGRAPHY 

is  widely  represented  in  Tibet.  1 

Vajradhara  is  described  in  Buddhist  Tantric  works  and  he  has  several 
forms.  An  important  description  in  the  Nispannayogavali  is  given 
below.  This  particular  form  of  Vajradhara  is  three- faced  and  six-armed. 

Vajradhara. 

Colour — Reddish  White.  Faces — Three. 

Arms— Six.  .  Pose— Tandava  Dance. 

Vajradhara  is  the  principal  deity  in  the  Vajrasattva  Mandala  in  the 
Nispannayogavali.  He  is  described  thus  : — 

"Kutagaragarbhe  Vajradharah. .  .isadraktanu-viddhasitavarnah. .  .trimu- 
kho  mla-raktasavyetaravaktrah. . .  sadbhujo  vajra-ghantavirajitabhuja- 

bhyam      alingitasvabhaprajna savyakarabhy  am       krpanankusavarau 

vamabhyam   kapalapasabhrt ardhaparyahkena     navanatyarasais- 

tandavl."  NSP.  p.  8. 

"In  the  innermost  chamber  of  the  Mandala  there  is  Vajradhara. 
His  colour  is  reddish  white.  He  is  three-faced.  The  right  face  is  blue 
and  the  left  is  red.  He  is  six-armed.  With  the  two  principal  hands 
carrying  the  Vajra  and  the  Ghanta  he  embraces  the  Prajria.  The  two 
other  right  hands  show  the  excellent  sword  and  the  Ankusa.  In  the 
two  remaining  left  hands,  he  carries  the  Kapala  and  the  noose.  He 
stands  in  the  Ardhaparyahka  and  dances  the  Tandava  dance  exhibiting 
the  nine  dramatic  sentiments". 

Fig.  16  represents  a  three- faced  and  six-armed  Vajradhara  image 
without  the  Sakti  in  the  Baroda  Museum. 

But  Vajradhara  was  not  universally  accepted  as  the  Adibuddha  or 
the  first  creative  principle.  When  the  theory  of  Adibuddha  was  fully 
established  the  Buddhists  seem  to  have  ranged  themselves  into  ,so  many 
sects  as  it  were,  holding  different  views  regarding  specific  forms  which 
the  Adibuddha  should  take.  Some  considered  one  among  the  five 
Dhyani  Buddhas  as  the  Adibuddha,  some  acknowledged  Vajrasattva  as 
the  Adibuddha.  Many  others  were  content  to  regard  the  Boddhisattva 
such  as  Samantabhadra  or  Vajrapani  as  the  Adibuddha.  Thus  the  cult 
of  Adibuddha  was  widely  distributed  amongst  the  different 'schools, 
which  gave  rise  to  as  many  different  sects  amongst  the  Tantric 
Buddhists. 

Vajradhara  or  the  Adibuddha  is  supposed  to  be  the  originator  of 
the  five  Dhyani  Buddhas,  the  progenitors  of  the  five  Kulas  or  families  of 
Buddhist  gods  and  goddesses.  Next  to  Vajradhara  the  Phyani^jBu.ddhas 
or  the  Tathagatas  are  important  in  Buddhist  iconography  and,  therefore, 


1.    Getty -GNB,   p.  5 


DHYANI  AND  MORTAL  BUDDHAS  45 

requires  treatment  in  detail.  The  Guhyasamaja  Tantra  (Tantra  of 
Secret  Communion)  was  the  first  to  reveal  their  existence  in  a  Sahglti 
(holy  assembly)  which  is  supposed  to  introduce  new  ideas  into 
Buddhism. 

In  the  Guhyasamaja  l  the  Dhyani  Buddhas  are  given  a  Mantra,  a  col- 
our, aSakti^a  direction,  and  a  guardian  of  the  gate.  As  these  Dhyani 
Buddhas  are  of  primary  importance  in  Buddhist  iconography,  it  is  nece- 
ssary to  deal  with  their  origin  in  some  detail  here.  The  Guhyasamaja 
opens  in  a  grandiloquent  style  with  the  description  of  a  monster  assem- 
bly of  gods,  Tathagatas,  Bodhisattvas,  Saktis,  and  various  other  divine 
beings.  The  Tathagatas  present  in  the  Assembly  requested  the  Lord 
Bodhicittavajra  to  define  the  Tathagatamandala  or  the  magic  circle  of 
the  five  Dhyani  Buddhas  and  in  response  to  their  request,  the  Lord  sat  in 
a  special  Samadhi  (meditation)  called  the  Jnanapradipa  (lamp  of  know- 
ledge), and  his  whole  form  started  resounding  with  the  sacred  sounds  of 
VAJRADHRK  which  is  the  mantra  of  the  Dvesa  family.  No  sooner  the 
words  came  out,  the  sounds  transformed  themselves  into  the  concrete 
shape  of  Aksobhya  with  the  earth-touching  signal  (Mudra). 

Then  the  Lord  sat  in  another  meditation  and  soon  became  vibrant 
with  the  sacred  sounds  of  JINAJIK,  the  principal  mantra  of  the  Moha 
family.  The  sounds  condensed  themselves  into  the  concrete  form  of 
Vairocana  with  the  Dharmacakra  Mudra  and  was  placed  in  his  front  in 
the  East. 

Next  with  a  third  Samadhi  (meditation)  the  Lord  became  resonant 
with  the  word  RATNDHRK  the  principal  mantra  of  the  Cintamani 
family  and  soon  became  condensed  in  the  human  form  of  Ratnaketu 
with  his  favourite  signal  of  Varada  (gift  bestowing)  and  was  placed  to 
the  south  of  the  Lord. 

The  Lord  thereupon  took  a  fourth  Samadhi  and  became  resonant 
with  the  sacred  sound  of  AROLIK,  which  is  the  principal  mantra  of  the 
Vajraraga  family.  The  vibrations  soon  grossened  themselves  in  the 
human  form  of  Amitabha  with  the  signal  of  Dhyana  (meditation)  and 
was  placed  behind  the  Lord  in  the  west. 

Next,  the  Lord  assumed  another  Samadhi  and  soon  became  resonant 
with  the  sacred  sound  of  PRAJNADHRK,  the  principal  Mantra  of  the 
Samaya  family.  The  vibrations  after  condensation  gradually  assumed 
the  shape  of  Amoghasiddhi  with  his  characteristic  symbol  of  Abhaya 
(assurance),  and  was  placed  by  the  Lord  in  the  north. 

Then  the  Lord  sat  in  a  series  of  special  Samadhis,  five  in  number,  and 
became  resonant  with  five  different  mantras.  The  vibrations  in  like 


Guhyasamaja,  chapter   1      is  entirely   devoted  to  the  formation  of  the  Dhyani 
Buddha  mandala. 


46  BUDDHIST  ICONOGRAPHY 

manner  were  condensed  in  the  form  of  five  goddesses  as  female  counter- 
parts  of  the  five  Tathagatas  already  named  and  were  placed  in  their 
appropriate  positions. 

Thus,  the  Lord  in  the  first  Samadhi  became  resonant  with  the  sound 
DVESARATI  which  transformed  itself  into  the  form  of  his  own  queen 
and  was  placed  on  his  own  seat. 

Next,  he  became  resonant  with  the  sound  MOHARATI  which  took 
the  shape  of  a  goddess  and  was  placed  in  the  eastern  direction  as  the 
queen  of  Vairocana. 

Thereafter  he  became  vibrant  with  the  sound  fRSYARATI  which 
took  the  shape  of  a  goddess  and  was  placed  in  the  southern  direction 
as  the  queen  of  Ratnasambhava. 

Next  in  another  Samadhi  the  Lord  became  vibrant  with  the  sound 
RAGARATI  which  soon  took  the  concrete  shape  of  a  goddess  and 
was  placed  in  the  western  direction  as  the  queen  of  Amitabha. 

Then  in  a  further  meditation  the  Lord  became  resonant  with  the 
sound  VAJRARATI  which  took  the  concrete  shape  of  a  goddess  and 
was  placed  in  the  northern  direction  as  the  queen  of  Amoghasiddhi. 

When  all  the  Tathagatas  were  associated  with  their  female  counter- 
parts the  Lord  sat  in  four  more  meditations  and  through  these  created 
four  guardians  of  gates  for  the  four  cardinal  directions. 

First,  he  sat  in  the  Mahavairocanavajra  Samadhi  and  became  resonant 
with  the  sound  YAMANTAKRT.  These  sound  vibrations  soon  assumed 
the  concrete  shape  of  a  violent  deity,  fearful  to  the  Tathagatas,  and  was 
placed  at  the  eastern  gate. 

Next,  he  became  vibrant  with  the  sound  PRAJNANTAKRT.  The 
sound  vibrations  soon  assumed  the  form  of  a  violent  deity,  fearful  to 
the  Vajra  process,  and  was  placed  at  the  southern  gate. 

In  a  third  Samadhi  the  Lord  became  vibrant  with  the  sound 
PADMANTAKRT  which  soon  took  the  form  of  a  violent  deity  repre- 
senting the  speech  of  the  Tathagatas  and  was  placed  at  the  western  gate. 

Finally,  the  Lord  sat  in  another  Samadhi  called  the  Kayavakcittavajra 
of  the  Tathagatas,  and  became  vibrant  with  the  sound  VIGHNANTA- 
KRT  which  soon  took  the  shape  of  a  violent  deity  representing  the  body, 
speech  and  the  mind  of  the  Tathagatas,  and  was  placed  at  the  northern  gate. 

The  above  account  as  recorded  in  the  Guhyasamaja  Tantra  marks 
the  beginning  of  the  theory  of  the  five  Dhyani  Buddbas,  their  counter- 
parts, their  mantras  and  the  guardian  of  the  gates. \  The  five  Dhyani 
Buddhas  ar*»  *hp  Corner  stones  of  Buddhist  Iconography  on  which  the 
whole  edifice  of  the  Buddhist  pantheon  is  crecte^  The  five  Dhyani 
Buddhas  are  the  progenitors  of  the  five  Kulas  orramilies  of  deities,  and 
the  community  worshipping  them  were  known  as  the  Kaulas,  and  the 


DHYANI  AND  MORTAL  BUDDHAS  47 

process  of  worship  was  called  Kulacara  or  family  conduct.  These 
Dhyani  Buddhas  further  split  themselves  up  in  the  form  of  Bodhhisattva 
and  their  female  principles  who  are  responsible  for  creating  everything 
found  in  existence.  The  forms  of  deities  are  nothing  but  the  gross 
forms  of  the  different  sounds,  and  thus  the  connection  of  the  mantra 
with  the  deity  is  established.  I 

The  five  Dhyani  Buddhas  who  are  the  embodiments  of  the  five  Skan- 
dhas  or  primordial  elements  are  the  progenitors  of  the  five  families  of 
deities  constituting  the  whole  of  the  Buddhist  pantheon.  The  emanated 
deities  of  these  Dhyani  Buddhas,  as  a  rule,  hold  the  miniature  figure  of 
the  parental  Dhyani  Buddha  on  their  heads  and  are  usually  of  the  same 
colour  as  that  of  the  Dhyani  Buddha  and  are  placed  in  the  same  direc- 
tion as  is  assigned  to  their  sires.  This  very  plan  is  followed  most  scru- 
pulously in  almost  all  the  Mandalas  or  magic  circles  as  described  in  the 
remarkable  work,  Nispannayogavali  of  Mahapandita  Abhayakara  Gupta. ' 

The  names,  colours  and  the  symbols  of  the  five  Dhyani  Buddhas 
are  stated  briefly  in  the  following  verse  occuring  in  the  Sadhanamala  : 

Jino  Vairocano  khyato  Ratnasambhava  eva  ca 
Amitabhamoghasiddhiraksobhyasca  prakirtitah 
Varna  amisam  sitah  plto  rakto  haritamecakau 
Bodhyahgl  Varado  Dhyanam  Mudra  Abhaya-Bhusprsau. 

Sadhanamala,  p.  568-9 

"The  Jinas  (victorious  ones)  are  Vairocana,  Ratnasambhava,  Amita* 
bha,  Amoghasiddhi  and  Aksobhya.  Their  colours  are  white,  yellow, 
red,  green  and  blue,  and  they  exhibit  the  Bodhyahgl  (teaching),  Varada 
(boon),  Dhyana  (meditation),  Abhaya  (protection),  and  Bhusparsa 
(earth-touching)  attitudes  of  hands  respectively/' 

iThe  Dhyani  Buddhas  are  a  peculiar  kind  of  Buddhas  who  are  not 
required  to  pass  through  the  stage  of  a  Bodhisatta.  They  were  never 
anything  less  than  a  Buddha.  They  are  always  engaged  in  peaceful 
meditation,  and  they  voluntarily  abstain  themselves  from  the  act  of 
creation.  To  create  is  the  work  of  their  emanations,  the  Divine 
Bodhisattvas.  As  has  been  said  already,  the  Dhyani  Buddhas  are  five 
in  number  to  which  a  sixth  Vajrasattva  is  sometimes  added.  The 
Guhyasamaja  Tantra  makes  it  clear  that  all  the  five  Dhyani  Buddhas 
along  with  their  female  counterparts  and  the  guardians  of  gates  were 
known  in  circa  300  A.  D.  the  time  of  the  introduction  of  this  new 
Tantra.  That  the  five  Dhyani  Buddhas  might  have  owed  their  origin 
to  the  theory  of  the  eternity  of  the  five  senses,  seems  to  be  borne  out 
by  a  passage  in  the  Cittavisuddhiprakarana  l  of  the  Tantric  Aryadeva.  I 

1.    JASB,  1898.  p.  178.  " 


48  BUDDHIST  ICONOGRAPHY 

But  it  may  also  be  possible  that  the  five  Mudras  which  Buddha  Sakya- 
simha  made  sacred  by  using  on  memorable  occasions  and  which  were 
constantly  depicted  in  the  Buddhistic  figures  of  the  different  schools 
of  art,  gave  rise  to  the  five  Dhy an i  Buddhas  (Figs  17,  18).  Advayavajra 
who  flourished  in  the  llth  century,  has  written  in  one  of  his  short 
works  that  the  five  Dhyani  Buddhas  took  their  origin  from  the  theory 
of  the  eternity  of  the  five  Skandhas  (elements),  that  is  to  say,  that  the 
Dhyani  Buddhas  represented  the  five  primordial  cosmic  forces  which 
are  responsible  for  creation.  Vajrasattva,  the  sixth  Dhyani  Buddha, 
who  is  generally  regarded  as  the  priest  of  the  five  Dhyani  Buddhas 
and  is  usually  represented  with  the  priestly  symbols,  the  Vajra  and  the 
Ghanta,  is  an  embodiment  of  the  five  Skandhas  collectively,  and  un- 
doubtedly a  later  addition  to  the  pantheon  of  the  Northern  Buddhists. 
The  Dhyani  Buddhas  are  always  represented  as  seated  on  a  full 
blown  lotus,  and  in  the  meditative  pose  with  legs  crossed,  the  right 
foot  crossing  over  and  in  front  of  the  left,  with  the  soles  of  both  feet 
turned  upwards.  The  hand  that  rests  on  the  lap  is  sometimes  empty, 
but  in  most  cases  holds  the  bowl.  The  head  is  bare,  the  thick  clustering 
curls  radiate  effulgence  like  a  flame  of  fire  The  eyes  are  half-closed 
in-meditation  showing  the  mind  completely  drawn  inwards  in  perfect 
introspection.  The  dress  consists  of  an  undergarment  reaching  from 
the  chest  to  the  knee,  and  secured  by  a  scarf.  The  body  is  loosely 
covered  by  the  habit  of  a  monk,  leaving  only  the  right  arm  bare. 

The  Dhyani  Buddhas  are  generally  represented  on  the  four  sides  of 
a  Stupa  which  is  the  symbol  of  the  Buddhist  Universe,  facing  the  foi!r 
cardinal  points.  Vairocana  is  the  deity  of  the  inner  shrine  and  is, 
therefore,  generally  unrepresented.  But  exceptions  to  this  lule  are  by 
no  means  rare.  He  is  occasionally  assigned  a  place  between  Ratnsam* 
bhava  in  the  south  and  Aksobhya  in  the  East.  Independent  shrines 
are  also  dedicated  to  each  of  the  Buddhas.  . 

The  five  Dhyani  Buddhas  are  given  each  a  special  recognition  symbol 
and  a  colour.  The  symbols  are  extremely  important  for  the  purpose 
of  iconographical  studies,  because  the  female  counterparts  and  the 
wrings  of  the  DhySni-B«ddhas  invariably  display  these  symbols  in 
orderto  sKow^theit^  origin/  1'fius  Amitabha  is  given  the  Lotus  as  the 
recognition  symbol.^  His  Sakti  Pandara  and  his  Bodhisatta  Padmpajii 
must  exhibit  the  Lotus  symbol  in  order  to  show  that  they  are  the 
emanations  of  Amitabha.  Similarly,  all  the  other  Dhyani  Buddhas 
also  have  their  own  symbols  and  the  name  of  the  family  is  generally 
fixed  from  these  symbols  ;  for  instance,  Amitabha  is  the  progenitor 
of  the  Lotus  family,  Aksobhya  is  the  leader  of  the  Vajra  family, 
Ratnasambhava  is  the  embodiment  of  the  Jewel  family,  and  so  forth. 


DHYANI  AND  MORTAL  BUDDHAS  49 

The  Advayavajrasangraha  gave  special  epithets  to  the  Dhyani  Buddhas 
to  indicate  their  families,  although  these  special  epithets  are  not  known 
from  any  other  source.  According  to  this  authority,  Amitabha  is 
Padmakuli,  Aksobhya  is  Vajrakuli,  Vairocana  is  Tathagatakull,  Ratna- 
sambhava  is  Ratnakuli  and  Amoghasiddhi  is  Karmakuli.  The  Kula 
in  the  case  of  Vajrasattva  is  not  given  for  the  simple  reason  that 
he  has  neither  family  nor  a  special  element. 

Next  to  symbols,  the  colour  of  the  Dhyani  Buddhas  is  important. 
Each  Dhyani  Buddha  has  a  special  colour  and  this  colour  is  required 
to  be  shown  by  all  originating  from  each,  Sometimes  in  classifying 
Buddhist  deities  there  is  no  other  sure  indication  of  the  parental  Dhyani 
Buddha  except  the  colour.  On  the  ground  of  colour  alone,  and  in 
the  absence  of  positive  mention  of  the  parental  Dhyani  Buddhas, 
several  deities  have  been  classified  in  this  book  in  this  manner. 

A  detailed  description  of  the  Dhyani  Buddhas  along  with  their 
female  counterparts  and  their  offsprings,  the  Bodhisattvas,  now  follows 
with  relevant  information  regarding  their  forms  and  their  statues  and 
paintings.  Descriptive  quotations  from  Tantric  works  have  been 
incorporated  to  indicate  the  source  of  information  wherever  possible.] 

1.     AMITABHA.  ,  , 

Colour-— Red  Vehicle— Peacock      / 

Mudra — Samadhi  Symbol — Lotus 

|  By  far  the  most  ancient  among  the  Dhyani  Buddhas  is  Amitabha 
who  is  said  to  reside  in  the  Sukhavati  heaven  in  peaceful  meditation. 
He  presides  over  the  current  Kalpa  (cycle)  which  is  Bhadrakalpa.  As  a 
Dhyani  Buddha  he  does  not  create.  It  is  his  Bodhisattva  Padmapani, 
also  known  as  Ayalokitesvara,  who  is  responsible  for  creation.  The 
form  of  Amitabha  is  described  in  the  Pancakara  section  of  the 
Advayavajrasamgraha  thus  :  J 

"Pascimadale  Ravimandalopari  rakta-Hnhkarasambhuto  raktavarno 
Amitabhah  padmacihnah  samadhimudradharah  samjnaskandhasvabhavo 
ragasarirah  sukratmakah  padmakull  pratyaveksanajnanalaksano  gris^ 
marturupaha  mlarasasarlrah  tavargatma  pradosavan".  ADV.  p.  .41 

V'On  the  western  petal  on  the  disc  of  the  sun  there  is  Amitabha 
of  red  colour  originating  from  the  red  syllable  Hnh.  |  He  has  a  lotus 
as  his  sign  and  he  exhibits  the  Samadhi  Mudra  in  his  two  hands.  He 
is  of  the  nature  of  the  cosmic  element  of  Samjna  (name),  is  an  embodi* 
ment  of  attachment  and  belongs  to  the  Lotus  family.  He  stands  for 
the  vital  fluid,  and  is  endowed  with  the  Pratyaveksana  (looking  after) 
7 


50  BUDDHIST    ICONOGRAPHY 

knowledge.  He  represents  the  summer  season  and  the  acid  taste.  He 
presides  over  the  group  of  letters  beginning  with  Ta  (cerebrals)  and  rules 
over  the  evening  twilight". 

When  represented  on  the  Stupa,  he  always  faces  the  West  and  the 
Nepalese  Buddhists  regard  him  as  the  fourth  Dhyani  Buddha.  His 
two  hands  with  palm  open  lie  on  his  lap,  one  upon  the  other  forming 
the  Dhyana  or  the  meditative  mudra.  His  colour  is  red  and  his  Vahana 
is  a  pair  of  peacocks.  His  recognition  symbol  is  the  Lotus. 

Images,  sculptures,  paintings  and  drawings  of  this  description  are 
found  in  all  Buddhist  countries  including  India,  Tibet  and  China.  \  One 
miniature  painting  of  the  Dhyani  Buddha  is  reproduced  in  Fig.  19. 
Besides  the  two-armed  form  various  other  forms  are  known  of  this 
and  other  Dhyani  Buddhas.  It  may  be  remembered  here  that  all 
the  five  miniatures  reproduced  here  belong  to  the  collection  of 
Dr.  Evans* Wentz. 

*  Amitabha  images    are    found    in     abundance    in    Tibet  1     and    in 
China  2  [ 

PANDARA 


I '    Colour — Red  Symbol — Lotus 

|  Pandara  is  also  called  Pandaravasini.  According  to  a  Dhyana  in 
the  Advayavajrasahgraha  she  belongs  to  the  Lotus  family  which  is 
also  the  family  of  the  Dhyani  Buddha  Amitabha.  Pandara  thus  is 
the"~spiritual  consort  of  Amitabha.  \Her  form  and  nature  are  des* 
cribed  as  under  : — | 

"Vayavyam  candramandalopari  Parhkarabljasambhuta  Pandarava* 
sini  rakta  raktavarna  padmacihna  tejodhatusvarupa  padmakula 
ragarakta."  ADV.  p.  43. 

"In  the  Vayu  corner  on  the  orb  of  the  moon  there  is  Panda- 
ravasini originating  from  the  (  red  )  germ  syllable  Parh.  I  She  is  red 
in  colour  and  has  the  Padma  (  lotus  )  as  her  recognition  symbol. 
She  is  the  embodiment  of  the  element  of  Fire.  She  belongs  to 
the  Lotus  family  and  is  full  of  attachment." 

•  Images  and  paintings  of  this  goddess  are  rare.  She  is  however 
known  in  Nepal  in  paintings,  and  some  of  her  sfejuettes  are  found 
in  China  A  Fig  20  illustrates  a  Nepalese  drawing  of  the  goddess.  ^ 

Pandara  is  represented  in  Tibet  3  and  China  4.  The  illus" 
trations  of  drawings  of  all  the  five  Buddhasaktis,  Pandara  and 

1.  Gordon  :  ITL  p.    27.  Getty— GNB.  pp.   38,   39. 

2.  Clark :  TLP,  II.  pp.  32,  57,   142. 

3.  Getty  :    GNB   p.   139. 

4-    Clark  :    TLP,  II,  under  the  name   of  Pandaravasini,  pp.  61,   106,  152,164. 


DHYANI  AND  MORTAL  BUDDHAS  51 

others  are    reproduced    from    Wright's  Hutory    of    Nepal,   Plate  VI. 
These  drawings  are  made   by  Nepalese  painters. 

PADMAPANI.  If 

Colour — Red  Symbol— Lotus       '( 

I  Padmapani  is  the  Bodhisattva  attached  to  the  Padma  (  lotus ) 
family  which  is  presided  over  by  the  Dhyani  Buddha  Amitabha 
whose  spiritual  consort  is  Pandara  or  Pandaravasim.  The  Lotus 
is  the  symbol  of  this  family  and  the  colour  assigned  to  this  family 
is  red.  The  Bodhisattva  Padmapani  begets  the  red  colour  and  a 
full*blown  lotus  as  his  symbol.  Padmapani  is  fairly  well  represen- 
ted in  the  Buddhist  countries  of  the  North  including  Tibet  l  and 
China./  One  of  his  images  is  illustrated  in  Fig.  21  2. 

2.    AKSOBHYA. 

Colour — Blue  Mudra— Bhusparsa 

Vehicle — Elephant  Symbol — Vajra  • 

Next  in  importance  and  antiquity  is  the  Dhyani  Buddha  Aksobhya 
whcTlsHnientioned  as  a  Tathagata  in  the  smaller  recension  of  the 
Amitayus  Sutra  which  was  translated  into  Chinese  between  A.  D,  384 
and  417.  Aksobhya  is  regarded  as  the  Second  Dhyani  Buddha  by  the 
Nepalese  Buddhists.  His  description  appears  almost  everywhere  in 
Tantric  literature.  The  Paficakara  section  of  the  Advayavajrasangraha 
perhaps  gives  the  best  description  thus  : 

^Suryamandalastha-nlla-Humkaranispanno  dvibhuja  ekamukho  Bhu- 

sparsamudradharo  vajraparyankl vijnanaskandhasvabhavah 

vajrakuli sisiramadhyahnakatusruti'akasasabda-cavargo  Aksobhya- 

vi£uddhah".  ADV.  p.  40-41. 

|  Aksobhya  originates  from  the  blue  syllable  Hum  which  is  placed 
on  the  orb  of  the  sun.  He  is  two-armed  and  one-faced,  exhibits 
the  Bhusparsa  (earth-touching]  mudrf  and  sits  in  the  Vajraparyanka 
(adama"ntineleat)  pose.  He  represents  the  primordial  cosmic  element 
of  Vijnana  (  consciousness  ).  He  is  the  embodiment  of  the  Vajra 
family  and  represents  the  winter  season,  noon-time,  pungent  taste, 
faculty  of  hearing,  the  element  of  Ether  and  Sound  and  the  Ca  (palatal) 
group  of  letters".- J 

\Images,  sculptures,  statuettes  and  paintings  of  Aksobhya  of  this 
description  are  to  be  met  with  everywhere  in  Buddhist  countries 
especially  of  the  North.  When  represented  in  the  Stupa  he  always 

1.  Getty  :    GNB.  ppt    61,  62 

2.  This    and    other  illustrations  of  the  five   Dhyani  Bodhisattvas    are  in  full- 
size  bronzes.     All  these  are  to  be  found  in  the  U  Vahal  in  Nepal. 


52  BUDDHIST  ICONOGRAPHY 

faces  the  East.  His  left  hand  rests  on  the  lap  while  the  right 
Crests  on  the~nght  knee  with  the  tips  of  the  fingers  touching  the 
ground  with  palm  drawn  inwardly.  JffisJVahana  is  a  pair  of  elephants 
and  his  recognition  symbol  is  the  Vajra  or  the  thunderbolt. 

Various  other  forms  of   Aksobhya  are  found  in  Tantric  works, 

some   four^armed,   some  six-armed,  some   standing  and  some  sitting, 

some  single  and  some  in  Yab-yumj|  Some  two-armed  specimens  are 

reproduced  here  (Figs.  22,  23). 

,  /He  is  popular  in  Tibet  1  and  China 

(ii) 
Colour — Blue  Arms — Eight 

Aksobhya  is  the  principal  deity  in  the  Aksobhya  Mandala  according 
to  Pindlkrama  in  the  Nispannayogavall.  He  is  described  thus  : 

"Aksobhyah  krsno  raudrah  sitaraktasavyetaramukhah  savyakaraih 
kulacakrapadmani  vamair-ghanta-Cintamani-khadgan  vibhranah  svabha- 
£parsavajralingitah".  NSP.  p.  5! 

|  "Aksobhya  is  blue  in  colour  and  is  angry-looking.  The  colour  of 
his  right  face  is  white  and  that  of  the  left  is  red.  He  holds  in  his  right 
hands  the  Vajra  (family  symbol),  the  discus  and  the  lotus.  In  the  three 
left  hands  he  carries  the  bell,  the  Cintamani  jewel  and  the  sword. 
With  the  two  principal  hands  he  embraces  the  Prajna  Sparsavajra 
by  name",  j 

(  ,  MAMAKI 

1        Colour— Blue  Symbol — Vajra 

*  According  to  a  Dhyana  in  the  Advayavajrasafigraha,  Mamaki 
belongs  to  the  Vajra  family  and  thus  she  is  the  spiritual  consort  of  the 
Dhyani  Buddha  Aksobhya,  the  embodiment  of  the  Vajrakula.  |The 
description  is  given  below  :  f 

*  Nairrtyarh  candramandalopari  krsna-Mam-karabijasambuta  Ma- 
maki krsnavarna  krsnavajracihna  abdhatusvabhava  Vajrakula  dve* 
sarakta"! ADV.  p.  4! 

"On  the  orb  of  the  Moon  in  the  Nairrta  corner  there  is  Mamaki 
originating  from  the  blue  germ  syllable  Mam.  \  She  is  blue  in  colour 
and  has  the  blue  Vajra  as  her  recogntion  symbol.  She  is  the  embodi- 
ment of  the  element  of  Water  and  she  belongs  to  the  Vajra  family. 
She  is  full  of  enmity",  f 

Mamaki  is  very  rarely  represented.  There  are  Nepalese  drawings  of 
this  goddess J of  which  one  specimen  is  reproduced  here  (Fig  24).  She 
is  known  in  Tibet  and  China.f 

1.  Gordon  :  ITL,  p.  104  ;  Getty  :  GKB,  pp.  36,  37. 

2.  Clark:  TLP,  II,  pp.  126,  129,  138,  244. 


DHYANI  AND  MORTAL  BUDDHAS  53 

VAJRAPANL 

y 

Colour — Blue  Symbol — Vajra 

I  The  Bodhisattva  Vajrapani  with  the  Vajra  symbol  is  the  spiritual 
son  of  the  Dhyani  Buddha  Aksobhya  who  is  the  progenitor  of  the 
Vajra  family.  His  spiritual  mother  is  Mamakl.  Vajrapani,  when 
represented,  either  stands  or  sits  and  carries  usually^  lotus  on  which 
is  placed  the  family  symbol  of  Vajra.  Sometimes  he  holds  the  Vajra 
against  the  chest  in  one  of  his  hands/  Some  images  of  his  are  illus- 
trated here  (Figs.  25,  26,  27). 

£  He  is  known  and  widely  represented  in  Tibet  l  and  China  2  J 

3.    VAIROCANA 

Colour— White  Mudra — Dharmacakra 

Vahana — Dragon        Symbol — Discus 

f  Vairocana  is  mentioned  along  with  the  other  Dhyani  Buddhas  in 
the  Guhysamaja  which  is  dated  circa  300  A.D.  He  is  regarded  as  the 
oldest^  ^^  t'le  ^rst  Dhyani  Buddha  by  the  Nepalese  Buddhists  and 
His  place  is  in  the  sanctum  of  the  Stupa  where  he  is  the  master  of  the 
whole  temple  and  its  contents.  Naturally,  therefore,  he  cannot  be 
represented  outside  the  Stupa,  but  exception  to  this  rule  is  frequently 
met  with  in  the  important  stupas  of  Nepal  where  he  is  assigned  a  place 
between  Aksobhya  in  the  East  and  Ratnasambhava  in  the  South.  His 
form  is  frequently  described  in  Tantric  works,  but  the  description 
occuring  in  the  Pancakara  section  of  the  Advayavajrasahgraha  is  full. 
It  is  given  below  :  | 

"Purvadale  candramandalopari  Omkarajah  Suklavarna*Vairocanah 
suklacakracihnah  Bodhyahgl-mudradharah  rupaskandhasvabhavah 
mohasvarupo  vitavisuddhah  tathagatakuli  adarsatvena  pratisthitah 
Hemantartuvisuddhah  madhurarasasarlrah  Kavargavyapl  prabhatasan- 
dhyatmak§yasvabhavah".  ADV.  p.  41 

Vj'Vairocana  originates  from  the  white  syllable  Om  placed  on  the  orb 
of  the  moon  on  the  eastern  petal  of  the  lotus  and  is  white  in  colour. 
His  recognition  symbol  is  the  white  Discus.  He  exhibits  the  Bodhyafigl 
mudra  and  represents  the  cosmic  element  of  Rupa  (Form).  He  is  of 
the  nature  of  Moha  (delusion)  and  is  without  bad  companions,  he  is 
the  embodiment  of  the  Tathagata  family,  and  is  established  as  an 
embodiment  of  Adarsa  (ideal)  knowledge.  He  represents  the  Hemanta 
season,  the  sweet  taste,  the  Ka  (guttural)  group  of  letters,  and  the 
mornings  and  evenings  of  the  day".  \ 

1.    Getty  :    GNB.  p.   51 

2*    Clark  :    TLP.  II.  pp.  8,  11,  56,  197,  201. 


54  BUDDHIST  ICONOGRAPHY 

When  represented,  Vairocana  is  white  in  colour,  and  his  two  hands 
are  held  against  the  chest  with  the  tips  of  the  thumb  and  forefinger  of 
each  hand  united.  His  Vahana  is  a  pair  of  Dragons  or  gryphons  and 
his  recognition  symbol  is  shown  to  be  the  Cakra  or  the  Disc. 

Instead  of  two,  he  may  have  many  arms,  and  such  descriptions  are 
also  met  with  in  the  Nispannayogavall./  Some  of  his  two-armed  images 
are  reproduced  here  (Figs  28,  29). /  His  images  are  found  in  Tibet  l 
and  China  a  / 

(  ii  ) 
Colour — White  Faces — Four 

Arms — Eight 

When  Vairocana  is  four-faced  and  eight-armed  he  is  called  Vajra- 
dhatu  and  in  this  form  he  is  described  in  the  Vajradharu  Mandala  of 
the  Nispannayogavall  with  the  following  words  : 

"Vairocano  vajraparyankena  nisannah  subhrah  sita-pita-rakta- 
harita^caturvaktro  astabhujah  savyavamabhyam  dhrtasavajrabodhyangi- 
mudro*  parabhyam  dhrtadhyanamudro  daksinabhyam  aksamalasara- 
dharo  vamabhyarh  cakracapabhrt".  NSP.  p.  44- 

"Vairocana  is  seated  in  Vajraparyahka  and  is  white  in  colour.  His 
four  faces  show  white,  yellow,  red  and  green  colours.  I  He  is  eight- 
armed.  With  the  two  principal  hands  holding  the  Vajra  he  exhibits 
the  Bodhyahgl  or  the  Dharmacakra  mudra.  With  the  second  pair  of 
hands  he  shows  the  Dhyana  mudra.  The  two  remaining  right 
hands  hold  the  rosary  and  the  airow,  and  with  the  two  remaining 
left  he  carries  the  discus  and  the  bow".  | 

Vajradhatu  Buddha  is  mentioned  in  the  Chinese  collection1.  The 
Chinese  figure  corresponds  with  the  description  given  here  and  is 
illustrated  in  Fig  30. 

LOCANA. 

Colour— White  Arms— Two 

Symbol — Discus 

The  Dhyani  Buddhas  are  a]J  associated  with  their  Sakti  or  female 
counterpart  and  an  offspring  or  Bpdhisattva.  They  fall  into  a  separate 
group  of  five  or  six  if  Vajra$attva  is  added.  Locana  belongs  to  the 
Tathagata  family  to  which  the  Dhyani  Buddha  Vairocana  also  belongs. 
Thus  Locana  is  the,  Sakti  or  the  female  counterpart  of  the  Dhyani 
Buddha  Vairocana,  f  A  short  Dhyan^  in  the  Advayavajrasahgraha 
describes  her  form  thus  ;  [ 

1.  Gordon  :  ITL.  p.  51  ;  Getty:  GNB,  p.  34. 

2.  Clark  -TLP,  II,  pp    12,  57.  3.'  Clark  :  TIP.  Vol.  II,  p.  115 


DHYANI  AND  MORTAL  BUDDHAS  55 

"Agneyakonadale  candramandalopari  sukla-Lom-karaja  suklavarna 
Locana  cakra-cihna  prthvidhatusvarupa  Tathagatakulodbhava  mo* 
harakta".  ADV.  p.  42 

"On   the  disc  of  the  moon  on  the  petal  in  the  Agni  corner  there  is 
Locaria  originating  from  the  white  germ  syllable  Lom.  J  She  is  white. 
in  colour,  bears  the  recognition  symbol  of  the  discus,  and  is  the  embodi- 
"1*1  em  of  t h e  cosimc~eIenSnF"bT    Earth.     She  belongs  to  the  Tathagata 
fanuTy^anHTs  steeped  in  delusion". 

Paintings  and  sculptures  of  this  goddess  are  rare,  |  A  Nepalese  draw- 
ing of  the  goddess  is  reproduced  here  in  Fig.  31  Locana  is  represented 
in  Tibet.  * 

SAMANTABHADRA 
Colour — White  Symbol — Cakra 

I  The  Dhy ani  Buddhas  are  the  progenitors  of  the  different  families 
and  they  have  each  a  spiritual  consort  and  spiritual  son.  These  spiri- 
tual sons  are  called  the  Bodhisattvas.  The  Bodhisattvas  bear  the  same 
colour,  and  the  same  recognition  symbol  whether  they  sit  or  stand.  The 
Bodhisattva  with  the  Cakra  symbol  is  Samantabhadra  and  is  thus 
affiliated  to  the  Dhayani  Buddha  Vairocana  with  the  Cakra  symbol.  He 
belongs  to  the  Tathagata  Kula.  When  represented,!  he  either  stands 
erect  or  sits  in  different  sitting  attitudes,  such  as  Dhyana,  Lalita  or 
Bhadra  poses  on  a  full-blown  lotus.  He  usually  holds  the  stem  of  a 
lotus  on  which  the  family  symbol,  the  Cakra,  is  shown. 

Samantabhadra  is  known  in  Tibet  2  and  China  ;i  and  is  frequently 
represented  in  the  Buddhist  countries  of  the  North. |  One  of  his  images 
is  illustrated  here  in  Fig.  32. 

4.    AMOGHASIDDHI. 
Colour — Green  Mudra — Abhaya 

Vahana — Garuda          Symbol — Visvavajra 

VThe  Nepalese  Buddhists  consider  him  to  be  the  Fifth  Dhyani 
Buddha  in  order.  His  left  hand  lies  open  on  the  lap  and  the 
right  exhibits  the  Abhaya  (  protection  )  mudra.  His  form  is  des- 
cribed in  many  places  in  Tantric  works  I  but  the  one  appearing  in 
the  Advayavajrasahgraha  appears  to  be  the  best  and  i$  quoted 
below  :  t 

"Uttaradale  suryamandalopari  syama-Kham-karajah  syamavarno- 
'moghasiddhih  visva-vajracihnabhayamudradharah  Samskaraskandha- 

1.  Getty;  GNB,  p.  139. 

2.  Getty  ;    GNB.  p-  47.  ».    Clark  ;  TIP,  II,  pp.   8,  9,  52,  133 


56  BUDDHIST  ICONOGRAPHY 

avabhavo  Varsarturupah  [Karmakull]  pisitap(s?)ahtiktaras§tmakah 
pavargavisuddhah  ardharatrasvabhavah."  ADV.  p.  41-42 

"Amoghasiddhi  originates  from  the  green  syllable  Kharh  placed 
on  the  orb  of  the  sun  on  the  northern  petal  of  the  lotus,  and 
is  of  green  colour.  /His  recognition  symbol  is  the  Visvavajra  or 

^>          1C  '""(-,  , 

the  double  thunderbolt.  He  exhibits  the  Abhaya  (  protection  ) 
mudra  and  represents  the  cosmic  element  of  Samskara  (  confor- 
ritotion  ).  He  is  the  embodiment  of  the  rainy  season  and  is  a 
demon  by  nature  ;  [  he  belongs  to  the  Karma  family  ]  and  he 
represents  the  bitter  taste,  the  Pa  (labial)  group  of  letters  and  the 
middle  part  of  the  night." 

When  represented,  his  colour  is  green  and  he  always  faces  the 
North.  His  Vahana  is  a  pair  of  Garudas  and  his  recognition 
symbol  is  the  Visvavajra  or  the  double  conventional  thunderbolt. 
Sometimes  a  serpent  with  seven  hoods  forms  the  background  and 
an  umbrella.  In  front  of  his  shrine,  therefore,  is  found  a  small 
square  pit  which  is  meant  for  the  snake 

Statues  and  paintings  of  this  Dhyani  Buddha  are  found  in 
large  numbers  in  all  Buddhist  countries  especially  of  the  North* 
Some  of  them  are  reproduced  here  (Figs.  33,  34  ).  }  He  is  popular 
in  Tibet  *  and  China  af 

TARA. 
Colour — Green  Symbol — Utpala 

|  Tara     also   called    Tarim    according    to    a  Dhyana   found  in  the 
PancSkara    section     of     the     Advayavajrasahgraha     belongs    to     the 
Karma   family     to  which    evidently    the    Dhyani    Buddha    Amogha- 
siddhi is  also    associated.    The  green    colour  of  Tara   also  suggest: 
that  she  is  the   spiritual  consort  of  Amoghasiddhi    of  green  colour 
Her  form  and  nature  are  given  in  the  following  passage  : 

"Atsanyarh  candramandalopari  kanakasyama-Tarh  karaparinata  TarinI 
syamavarna  syamamlotpalacihna  vayudhatusvarupa  Karmakula 
Irsyarakta."  ADV.  p.  43. 

"In  the    Isana  corner  on  the    orb    of  the  moon  there  is  TSrim 
originating    from    the  germ    syllable  Tarn     of  golden  green  colour 
Her     recognitipn_  symbol    is  a    green  night    lotus.      She    is      the 
embodiment    of  the    element  of    Air/   SKe    belongs  to 
family  and  is  full  of  jealousy."  1 

1,    Gordon:    ITL,  p.  27  ,    Getty:    GNB.    p.    42. 

I.    Clark:    TLP,  II,  pp.  32,  56,  115,  126,  128,  138,  144. 


57 


Fig.  12  ADI-BUDDHA,  VAJRADHARA, 

(  From  a  Nepalese  Painting  ) 


58 


Fig.  13      Vajradhara 
(  Baroda  Museum  ) 


Fig.  14    Vajradhara  Yab-yum 
(  Nepal  ) 


Fig,  15  Vajradhara  Yal>yum 
(  Side  View ) 


Fig.  16    Vajradhara  (Six-armed) 
(  Baroda  Museum  ) 


59 


Fia.   17  Buddha  in  different  Muuia*   ( 


Fig*   18  Buddha  in  (  Java  ) 


Fig.  19  Amitlhha, 


Fig,  20  Pandara, 


Fig.  21  Padmapani  (  Nef?al 


Fig.  22  Aksobhya. 


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DHYANI  AND  MORTAL  BUDDHAS  73 

The  same  remarks  apply  to  her  images  and  paintings  which 
are  rare  in  India*  One  specimen  of  her  images  is  illustrated  here 
(Fig.  35  ),  In  Tibet1  and  China2  she  is  widely  known. 

VISVAPANI 
Colour — Green  Symbol — Visvavajra.      i 

Visvapani,  as  the  name  indicates,  is  the  holder  of  the  Visvavajra 
or  the  double  thunderbolt  which  is  the  symbol  of  the  Dhyani 
Buddha  Amoghasiddhi,  whose  spiritual  consort  is  Tar  a  or  Tarim. 
They  all  belong  to  what  is  called  the  Karmakula  to  which  the 
green  colour  is  assigned.  Visvapani  thus  is  green  in  colour  and 
shows  the  Visvavajra  on  a  lotus.  When  represented,  he  may. 
stand  erect  or  sit  in  different  sitting  postures.  His  images  are 
sometimes  found,  and  one  specimen  is  illustrated  here  (  Fig  36  ). 
Visvapani  is  known  in  Tibet  r> 

5.   RATNASAMBHAVA. 
Colour — Yellow  Mudra — Varada 

Vahana — Lion  Symbol — Jewel        ! 

I  The  Nepalese  Buddhists  regard  him  as  the  Third  Dh>uni  Buddha 
in  order,  and  the  earliest  mention  of  his  name  may  be  found  in  the 
Guhyasamaja  which  is  believed  to  have  been  composed  circa  300  A.D. 
He  is  the  progenitor  of  the  Ratnakula,  and  is  described  widely  in  the 
Buddhist  Tantric  works.  Out  of  all  descriptions  the  one  given  in 
the  Pancakara  section  of  the  Advayavajrasahgraha  is  perhaps  the  besty 
Here  Ratnasambhava  is  described  as  under  : —  J 

"Daksinadale  suryamandalopari  TranVkarajah  pitavarno  Ratnasam- 
bhavo  ratnacihnavaradamudradharo  vedanasvabhava'piiunasanrah  rak- 
tatmako  ratnakull  samatajnanavan  vasantarturupo  lavanasanrah  Tavar- 
gavyap!  trtlyacaturtliapraharatmakah".  ADV,  p.  41. 

^"Ratnasambhava  originates  from  the  yellow  syllable  Train  placed 
on  the  orb  of  the  sun  on  the  southern  petal./ He  is  yellow  in  cqlour* 
his  recognitiqn  symbol  is  the  jewel  and  he  exhibits  the  Varada  (gift" 
bSstnwing)  Mudra.  He  represents  the  cosmic  element  of  VedanS 
(sensation)  and  is  the  embodiment  of  slander  (pisuna).  He  presides 
over  the  blood  in  the  human  system,  and  belongs  to  the  Ratna  (jewel) 
family  of  deities.  He  possesses  the  knowledge  of  Samata  (equality) 
and  presides  over  the  spring  season,  the  saline  taste,  the  Ta  (dental) 
group  of  letters  and  the  third  and  fourth  parts  of  the  day  and  night",  \ 

1.    Getty  :    GNB,    p.     127  2      Clark:     TLP,     II,    pp.    60,     107,     171. 

3.    Getty:    GNB,     p.     10  i 
10 


74  BUDDHIST  ICONOGRAPHY 

When  represented,  his  colour  is  yellow*  and  he  alwayvS  faces  the 
South.  His  left  hand  rests  on  the  lap  with  "opeiTpalm,  and  the  TTgBt 
'exhibits  the  Varada  Mudra  or  the  gift  bestowing  attitude.  His  Vahana 
is  a  pair  of  lions,  and  theTCTOgnition  symbol  is  the  Jewel  (Ratnacchata), 

He  may  have  more  arms  than  two  and  in  such  forms  he  is  described 
in^lhe  Nispannaybgavali.  ~Such  forms  alre  also  represented  iti  art."f"Some 
oT"his  two-armed  forms  are  only  illustrated  here  (Figs  37,  38),  \  He 
is  widely  known  and  represented  in  Tibet  1  and  China  -./ 

^ ,  VAJRADHATVI&VARI 

J       Colour — Yellow  Symbol — Jewel 

/  Vajradhatvisvarl,  according  to  a  statement  in  the  Advayavajrasam* 
graha  is  the  deity  of  the  centre  surrounded  by  the  four  Buddhasaktis, 
bocana,  Tara,  Pandara,  and  MamakL  She  is  said  to  be  the  embodi- 
ment of  the  highest  truth  in  Mahayana  Buddhism  which  is  named 
differently  as  Tathata,  Sunyata,  Frajnaparamita  and  so  forth  :t. 
Vajradhatvisvan  thus  can  be  taken  as  the  spiritual  consort  of  Ratna- 
sambhava  only,  with  the  yellow  colour  and  the  jewel  as  symbol. 

Images  and  paintings  of  this  deity  are  still  rarer  than  those  of  the 
other  Buddhasaktis.  /  One  of  her  Nepalese  paintings  is  illustrated 
here  (Fig  39). /  She  is  known  in  Tibet  *./ 

;   ,  RATNAPANI 

i  / 

/  '       Colour — Yellow  Symbol— Jewel 


Ratnapani,  as  the  name  signifies,  belongs  to  the  Ratnakula  which 
is  presided  over  by  the  Dhyani  Buddha  Ratnasambhava,  whose 
spiritual  consort  is  Vajradhatvisvan.  Ratnapani  is  of  the  same 
nature  as  the  Dhyani  Buddha  and  when  represented,  he  either 
stands  erect,  or  sits  in  different  sitting  postures.  He 


stalk  of  a  lotus  on  which  appears  the"  Kula  symbol 
hefe~thne  Jewel  (Ratnacchata).  He  is  represented  sparingly  in  the 
BuddTiist  Countries  of  "the  North,  and  a  metal  image  of  his  found 
in  Nepal  is  illustrated  here  (Fig  40).  Ratnapani  is  known  and 
represented  in  Tibet  5. 

6.    VAJRASATTVA. 
Colour  —  White  Symbols  —  Vajra  and  Ghanta 

(  Vajrasattva,  the  Sixth  Dhyani   Buddha,   is  regarded  by  the    Nepal 
Buddhists  as  the  priest  of  the  Five  Dhyani  Buddhas.    He  is  not  repre- 

1.    Getty  :  GNB,  p.  37.  2.    Clark  :  TLP,  II,  pp.  32,  57  119,  126. 

3*    ADV,  p.  43.  4-    Getty  :  GNB,  p.  139. 

5.    Getty  ;  GNB,  p   53,  54 


DHYANI  AND  MORTAL  BUDDHAS  75 

sented  in  the  Stupa  like  the  other  Dhyani  Buddhas,  but  independent 
shrines  are  dedicated  to  his  worship.  His  worship  is  always  performed 
in  secret  and  is  not  open  to  those  who  are  not  initiated  into  the  mys- 
teries of  Vajrayana.  Vajrasattva  is  represented  in  two  forms,  single 
and  Yub-yum. 

The  notable  feature  of  this  Dhyani  Buddha  is  that  he  wears  all 
ornaments,  rich  dress  and  a  crown  instead  of  the  poor  dress  of  the 
other  Dhyani  Buddhas  consisting  of  three  rags  (tricivara).  Thus 
Vajrasattva  appears  more  to  be  a  Bodhisattva  than  a  Dhyani  Buddha. 

He  sits  cross-legged  in  the  meditative  pose  like  the  other  Dhyani 
Buddhas,  and  exhibits  no  special  Mudra.  He  carries  the  Vajra  in  his 
right  hand  with  palm  upwards  against  the  chest  and  the  Ghanta  (Bell)  in 
the  left  hand  resting  against  the  left  thigh.  His  form  is  repeatedly 
described  in  Tantric  works.  jThe  description  given  in  the  Advaya- 
vajrasafigraha  is  typical  and  is  quoted  below  : 

"Vajrasattvastu  Hurhkarajanma  suklo  dvibhuja  ekavaktro  vajra- 
vajraghantadharo  Kasayarasasanrah  saradrtuvisuddho  Yaralavadyatma- 
kah  ardharatratah  prabhatakalaparyanto  Dharmadhatuparanama", 

ADV,  p.  41. 

"Vajrasattva  originates  from  the  syllable  HUM  and  is  white  in 
colour.  He  is  two-armed  and  one-faced  and  holds  in  his  two 
hands  the  Vajra  and  Vajra-marked  Ghanta.  |He  represents  the  as- 
tringent taste,  the  Autumn  season,  the  letters  of  the  alphabet  ya, 
ra,  la,  and  va,  and  the  part  of  the  night  from  midnight  to  day-break. 
His  second  name  is  Dharmadhatu".  \ 

I  When  represented  singly,  he  is  exhibited  before  the  public.  The 
Yab"yum  form  is  generally  kept"  secret.  When  represented  in  Yab- 
yumV'he  is  closely  associated  with  his  Sakti  who  is  generally  known 
as  Vajrasattvatmika.  He  carries  the  Vajra  and  the  Ghanta  in  the 
same  manner  as  when  single,  but  the  Sakti  holds  the  Kartri  in  the 
right  hand  and  the  Kapala  in  the  left  (Figs.  41,  42). * 

*  He  is  represented  widely  in  all  Buddhist  countries  of  the  North. 
Some  of  his  single  and  Yab-yum  forms  are  illustrated  here  (Figs.  43,44)* 
'His  white  colour  suggests  that  his  spiritual  sire  is  Vairocana  of 
white  colour.  His  position  amongst  the  Dhyani  Buddhas  is  anomalous. 
Vajrasattva  is  widely  represented  in  Tibet  l  and  China  f 

I.    Getty  :  GNB,  p.  6 

2;    Clark  :TLP.  II.  p.  138. 


76  BUDDHIST  ICONOGRAPHY 

VAJRASATTVATMIKA. 

Colour — White  Symbol — Kartri  and  Kapala 

Arms — Two 

/  As  all  the  Dhyani  Buddhas  have  a  Sakti  each  attached  to  them, 
even  so  the  Sixth  Dhyani  Buddha  Vajrasattva  also  can  claim  a 
Sakti.  Vajrasattvatmika  thus  is  the  spiritual  consort  of  the  Sixth 
Dhyani  Buddha  Vajrasattva.  Hejr  Dhyana  is  rarely  found,  in.. Tan- 
trie  literature,  but  her  form  can  Tie  seen  from  the  images  where 
she  is  in  close  embrace  with  Vajrasattva  in  Yab-yum.  In  such  cases 
she  carries  the  Kartri  in  the  right  hand  and  Kapala  in  the  left.  / 

GHANTAPANI 
Colour — White  Symbol — Ghanta 

The  Sixth  Dhyani  Buddha  Vajrasattva  and  his  consort  Vajrasa- 
ttvatmika claim  Ghantapani  as  their  Bodhisattva.  The  recognition 
symbol  of  this  Bodhisattva  is  the  Ghanta  or  the  Bell  Like  his 
spiritual  sire  he  must  be  white  in  colour.  Ghantapani  is  rarely 
represented,  and  his  images  are  very  rare  in  Buddhist  countries. 

MORTAL  BUDDHAS" 

Both  the  Mahayanists  and  the  Hmayanists  hold  that  a  Buddha 
is  one  who  is  endowed  with  the  thirty-two  major  and  eighty  mi- 
nor auspicious  marks  known  as  "external  characteristics"  as  enu- 
merated in  the  Dharmasarhgraha,  attributed  to  Nagarjuna.  He  must 
have  in  addition,  three  kinds  of  mental  characteristics,  namely,  the 
ten  Balas  or  forces,  eighteen  Avenika  Dharmas  or  peculiar  proper- 
ties, and  the  four  Vaisaradyas  or  points  of  self-confidence  or 
assurance. 

The  Hmayanists,  even  in  their  earlier  stages,  recognised 
four  bygone  Buddhas,  each  having  a  peculiar  Bodhi  tree. 
Mahayanists  also  give  several  lists,  though  not  systematically  and 
thirtyjjwp  different  names  have  been  recovered.  The  last  seven 
Jathagatas  are  well  known,  and  are  designated  by  the  Mah§yani* 
sts  aT^MTOtlsi  or^  Mortal  Buddhas.  These  are,  Vipasyin,  Sikhi, 
Visvabhu,  Krakucchanda,  Kanakamuni,  Kasyapa  and  Sakyasimha. 
The  historicity  of  these  Buddhas  is  still  uncertain  excepting  of  course 
that  of  the  last,  but  there  are  good  grounds  for  thinking  that 
Kanakamuni  and  Krakucchanda  really  w^re^  historical  personages* 

Attempts  have  been  made  to  establish  a  fantastic  connection 
between  the  last  five  Mortal  Buddhas  and  the  five  Dhyani  Buddhas 
and  their  Bodhisattvas  by  holding  that  the  Divine  Bodhisattvas 


DHYANI  AND  MORTAL  BUDDHAS  77 

discharge  their  duties  of  creation  through  the  agency  of  the  five 
portal  Buddhas.  The  theory  may  be  current  in  Tibet  ;  it  may 
ingeniously  establish  a  new  connection  and  may  find  strong  support 
from  scholars,  but  it  is  against  all  Tantric  traditions  of  India. 

When  represented,  the  last  seven  Mortal  Buddhas  appear  all  alike  ;  I 
they    are  of  one  colour  and  one  form,  usually  sitting  cross-legged, 
with  the  right  hand  disposed  in    the    Bhumigparsa 


touching  attitude)",  which  is^the  MudrOpeculiar  to  Aksobhya  and 
as^a  matter  ot  t'act,  it  is  not  possible  to  identify  a  sculpture  of 
the  latter  unless  it  is  coloured  or  if  no  other  identification  mark 
is  present.  In  paintings,  the  Mortal  Buddhas  have  -usually  a  yellow 
or  golden  complexion.  The  only  possible  chance  of  identifying 
them  is  when  they  appear  in  groups  of  seven.1 

Sometimes  they  are  represented  as  standing,  in  which  case  they 
appear  under  a  distinguishing  Bodhi  Tree  and  with  a  distinguish- 
ing Mudra.  The  Indian  Museum  image  No*  B,  G,  83  (Fig.  45)  is 
an  image  of  this  kind.  It  may  be  noted,  however,  that  Maitreya, 
the  future  Buddha,  has  been  added  to  this  group. 

VAJRASANA 

Gautama,  the  last  of  the  group  of  the  seven  Mortal  Buddhas, 
is  widely  represented  both  in  sculptures  and  in  paintings.  His 
images  date  from  a  period  anterior  to  the  birth  of  Christ  and  the 
fascination  of  Indian  sculptors  for  Buddha  images  seems  never  to 
have  diminished.  Innumerable  images  of  Buddha  in  innumerable 
attitudes  and  with,  innumerable  expressions  have  been  discovered 
in  India,  as  in  those  other  countries  which  came  under  the  influ- 
ence of  Buddhism,  Images  of  Buddha,  therefore,  are  an  indepen- 
dent study  by  themselves. 

The  Sadhanamala  furnishes  us  with  several  descriptions  of  Buddha 
Vajrasana  sitting  in  the  Vajraparyahka  attitude,  with  his  right 
hand  displaying  the  Bhumisparsa  pose.  The  Dhyana,  as  given  in 
one  of  the  Sadhana  is  quoted  below  : 

"Savyakarena  Bhusparsamudram  utsahgasthitavasavyahastam  kiisaya- 
vastravagunthanam  mlagauraraktasyamacatur-Maropari  visva-padmavaj- 
rSvasthitarh  santam  laksanavyanjanenanvitagatram.  Tasya  Bhagavato 
daksine  Maitreya^Bodhisattvam  gauram  dvibhujarh  jatamukutinam 
savyakarena  camararatnadharinam  avasavyena  nagakesarapuspacchata^ 
dharinam,  Tatha  vamato  Lokesvarram  suklam  daksinakarena  cama- 

1*  Colossal  images  of  the  Seven  Mortal  Buddhas  representing  them  with  the  Bhu- 
mi^parla  mudra  appear  in  one  of  cave  temples  at  Ellora.  Fergusson  and  Burgess:  Cave 
Templet  of  India,  p.  383. 


78  ,  BUDDHIST  ICONOGRAPHY 

radhararh  vamakarena   kamaladhararh  Bhagavanmukhavlokanajparau  ca 
tau  bhavayet. 

Iti  Vajrasanasadhanarh  samaptam" 

Sadhanamala,    p.   24- 

"The  worshipper  should  meditate  himself  as  (Vajrasana)  who  dis* 
plays  the  Bhusparsa  Mudra  in  his  right  hand  while  the  left  rests 
on  the  lap.  He  is  dressed  in  red  garments  and  sits  on  the  Vajra- 
marked  double  lotus  placed  on  the  four  Maras  of  blue,  white,  red 
and  green  colour.  He  is  peaceful  in  appearance  and  his  body  is 
endowed  with  all  the  major  and  minor  auspicious  marks, 

'To  the  right  of  the  God  is  Maitreya  Bodhisattva  who  is  white, 
two^armed,  and  wears  the  Jatamukuta  (crown  of  matted  hair),  and 
carries  the  chowrie-Jewel  in  the  right  hand,  and  the  Nagakesara  flower 
in  the  left. 

"Similarly,  to  the  left  of  the  principal  God  is  Lokesvara  of  white 
complexion,  carrying  in  his  right  hand  the  chowrie  and  the  lotus  in  the 
left. 

'These  two  gods  should  be  meditated  upon  as  looking  towards  the 
face  of  the  (principal)  god 

"Here  ends  the  Sadhana  for  Vajrasana" 

Images  of  this  divinity  are  found  in  overwhelming  numbers  in  almost 
all  Buddhist  centres  in  India.  The  Indian  Museum  image  (Fig.  46) 
is  an  example  of  this  form  of  Gautama. 

Buddha  Sakyasirhha  was  conceived  in  another  form  which  was  called 
by  the  name  of  Durgatiparisodhana.  This  particular  form  of  Sakya*- 
simha  is  described  in  the  Nispannayogavali  of  Abhayakara  Gupta. 

DURGATIPARISODHANA. 

Colour — Yellow      Face— One 
Arms — Two  Mudra — Dharamacakra 

Sakyasimha,  the  embodiment  of  Mahavairocana,  is  the  principal  deity 
in  the  Durgatiparisodhana  Mandala  of  the  Nispannayogavali.  He  has 
been  described  in  a  short  sentence  : 

"Cakrasya  vedyam  visvasarojasthasimhopari  snoakyasirhhoBhagavan 
Mahavairocanah  suvarnavarno  dhrtadharmacakramudrah, 

"NSP,  p.  66. 

"On  the  centre  of  the  wheel  on  a  lion  placed  on  a  double  lotus  sits 
the  god  Sri  Sakyasimha,  the  embodiment  of  Mahavairocana  of  golden 
yellow  colour,  dispalying  in  his  two  hands  the  Dharmacakra  Mudra". 

Nepalese  paintings  of  the  deity  are  available,  but  sculptures  are  hot 
recorded  anywhere,  ,  ^ 


DHYANI  AND  MORTAL  BUDDHAS  79 

MORTAL  BUDDHA&AKTIS 

Like  the  Dhyani  Buddhas,  the  Mortal  Buddhas  have  also  their  res- 
pective Buddhasaktis  through  whom  they  obtained  the  seven  Mortal 
Bodhisattvas.  The  Buddhasaktis  are  : — 

1.  Vipasyanti  4.     Kakudvatl 

2.  SikhimalinI  5.     Kanthamalini 

3.  Visvadhara  6.     Mahidhara 

7.     Yasodhara 

Representation  of  these  are  not  met  with  anywhere  in  India.  Only 
one  Statuette  of  the  last  Yasodhara  is  found  in  China  * . 

MORTAL  BODHISATTVAS 

They  were  brought  into  existence  by  their  respective  Mortal  Buddhas 
and  their  Saktis.  They  are  : — 

1.  Mahamati  4«     Sakamangala 

2.  Ratnadhara  5.     Kanakaraja 

3.  A  k  a  s  a  g  a  n  j  a  6.     Dharmadhara 

7.     A  n  a  n  d  a  L> 

The  names  of  Yasodhara  and  Ananda  are  familiar  names,  the  former 
being  the  name  of  Sakyasimha's  wife  and  the  latter  that  of  his  favourite 
disciple. 

The  relation  between  the  Mortal  Buddhas,  their  Buddhasaktis  and 
the  Bodhisattvas  may  be  thus  shown  in  a  tabular  form  : — 


Mortal 
Buddha 

Mortal 
Buddhasakti 

Mortal 
Bodhisattva 

Vipasyi 

Visvabhu 
Krakucchanda 
Kanakamuni 
Kasyapa 
Sakyasimha 

Vipasyanti 
SikhimalinI 
Visvadhara 
Kakudvatl 
Kanthamalini 
Mahidhara 
Yasodhara 

Mahamati 
Ratnadhara 
Akasaganja 
Sakamangala 
Kanakaraja 
Dharmadhara 
Ananda        N*^,.^- 

L    Clark:  TLP,  II,  p.  171. 
from  Nfoal,  Vo.  If.  163 
2*    Oldfield  :  Sketches  from 

Vw     %r* 

For  the  names  of  the  Buddhasaktis  see>OidfiftB  :  Batches 
and  185  ff.                                  Vs.       \              / 
Ni0a/;VoL  II.  pp.  163  and  185  ffS,  Cr^ 

80  BUDDHIST  ICONOGRAPHY 

MAITREYA,  THE  FUTURE  BUDDHA. 

It  would  not  be  out  of  place  to  mention  here  the  name  of 
Maitreya  who  partakes  of  the  nature  of  a  Mortal  Buddha,  though 
he  is  not  a  Buddha  yet.  He  is  supposed  to  be  passing  the  life  of 
a  Bodhisattva  in  the  Tusita  heaven,  preparatory  to  his  descent  to 
earth  in  human  form.  It  is  said  that  he  will  come  to  earth  full 
4000  years  after  the  disappearance  of  Buddha  Gautama  for  the 
deliverance  of  all  sentient  beings.  Asahga  is  said  to  have  visited 
Maitreya  in  the  Tusita  heaven  and  to  have  been  initiated  by  him 
into  the  mysteries  of  Tantra.  He  is  the  only  Bodhisattva  who  is 
worshipped  alike  by  the  Hinayanists  and  the  Mahayanists  and  his 
images  can  be  traced  from  the  Gandhara  School  down  to  the 
present  time/  Hiuen  Tsang  records  the  existence  of  Maitreya  in 
Udyana  (U-chang-na).  The  sculptor,  in  order  to  ascertain  his  correct 
form,  is  believed  to  have  gone  several  times  to  the  Tusita  heaven 
before  carving  it. 

Maitreya  may  be  represented  as  a  standing  figure,  adorned  with 
rich  ornaments  and  holding  in  his  right  hand  the  stalk  of  a  lotus 
He  is  distinguished  from  Padmapani  mainly  by  the  figure  of  a 
small  Caitya  which  he  bears  on  his  crown.  Getty  remarks  that  in 
Indian  sculpture  he  shows  in  his  hands  the  usual  Dharmacakramu- 
dra  ;  in  the  left  there  is  a  vase,  round,  oval  or  pointed,  or  there 
may  be  the  stems  of  flowers  which  support  his  two  characteristic 
symbols,  the  vase  and  the  wheel.  Maitreya  may  also  be  represen- 
ted seated  as  a  Buddha,  with  legs  either  interlocked  or  dangling 
down.  His  colour  is  yellow,  and  his  images  sometimes  bear  the 
figures  of  the  five  Dhyani  Buddhas,  on  the  aureole  behind. 
The  small  Caitya  on  the  crown  of  Maitreya  is  said  to  refer  to  the 
belief  that  a  Stupa  in  the  mount  Kukkutapada  near  Bodh-Gaya 
covers  a  spot  where  Kasyapa  Buddha  is  lying.  When  Maitreya 
would  descend  to  earth  he  would  go  direct  to  the  spot,  which  would 
open  by  magic,  and  receive  from  Kasyapa  the  garments  of  a 
Buddha. 

The  Sadhanamala  furnishes  us  with  only  one  description  of 
Maitreya  as  a  principal  divinity  and  several  others  in  which  he  is 
represented  as  a  minor  god.  When  as  a  minor  god,  he  accompa- 
nies others,  he  generally  carries  the  chowrie  in  the  right  hand  and 
the  Nagakesara  flower  in  the  left.  The  Sadhana  describing  the 
procedure  of  his  worship  has  Dhyana  : 


DHYAN1  AND  MORTAL  BUDDHAS  81 

Pita* MamYkaraparina tarn  visvakamalasthitam  trimukham 

caturbhujarh  krsnasukladaksinavamamukham  suvarnagauram 
sattvaparyahkinam  vyakhyanamudradharakaradvayam  aparadaksi* 
navamabhujabhyam    varadapuspitanagakesaramanjarldharam 

nanalahka  radharam  atmanam  Maitreyarupam  aiambya 

Maitreyasadhanam.     Sadhanamala,  p.  560. 

"The  worshipper  should  meditate  himself  as  Maitreya  who  ori- 
ginates from  the  yellow  germ  syllable  "Maim".  He  is  three-faced 
three-eyed,  and  four-armed.  His  right  and  left  faces  respectively 
are  of  blue  and  white  colour.  His  complexion  is  yellow  like  that 
of  gold.  He  sits  in  the  Paryanka  attitude  on  an  animal  His  two 
hands  are  engaged  in  exhibiting  the  Vyakhyana  Mudra  and  he 
shows  in  his  other  right  and  left  hands  the  Varada  Mudra  and  a 
full-blown  Nagakesara  flower  with  its  branches  He  is  decked  in  many 
ornaments.  Meditating  thus  .. 

This  is  the  Sadhana  for  Maitreya.'' 

A  Nepalese  drawing  (Fig.  47)  represents  'this  form  of  Maitreya  which 
follows  the  Dhyana  in  all  .details  except  the  vehicle.  Maitreya  is 
popular  in  Tibet1  and  his  images  are  found  in  abundance  in  China1', 


1.  Gordon  :  ITL,  pp.  104,  107;  Getty  :  GNB,  pp.  22,  23. 

2.  Clark  :  TLP,  II,  pp.  1,  9,  59,  143,  195. 
11 


CHAPTER  II 

THE    BODHISATTVAS 

I  The  term  Bodhisattva  consists  of  two  words  Bodhi  (enlightenrrent) 
and  Sattva  (essence)  and  they  represent  a  class  of  deities  who  derive 
their  origin  from  the  five  Dhyani  Buddhas  representing  the  five  primor- 
dial  elements.  The  Bodhisattvas  'thus  connote  all  the  ryale  deities 
of  the  Buddhist  pantheon,  while  their  female  counterparts  are  known 
by  the  generic  name  of  Saktis.  These  Saktis  should  be  distinguished 
from  the  Buddhasaktis  who  are  fhe  queens  of  the  five  Dhyani  Buddhas-. 
The  Bodhisattvas  are  sometimes  represented  in  the  company  ot  their 
Saktis  who  are  seated  either  beside  them  or  on  their  laps  or  in  close 
embrace.  Although  all  the  male  deities  of  the  Buddhist  pantheon  can 
be  called  the  Bodhisattvas,  they  are  ncveitheless  separated  in  icono- 
graphic  studies  as  an  independent  group.  Thus,  in  the  Nispannayogavali, 
three  distinct  groups  of  sixteen  Bodhisattvas  are  mentioned  and  it  is 
necessary  to  refer  to  them  here  along  with  their  iconography  as  found 
in  this  excellent  book.  Amongst  the  Bodhisattvas,  Avalokitesvara 
ai^Maniyin  are  the  chief  and  have  wide  popularity  not  only  in  this 
country,  but  also  in  other  Buddhist  countries  such  as  Tibet,  China  and 
Japan.!  As  the  images  of  Avalokitesvara  and  Manjusri  are  found  in 
<rlt~  these  countries  in  large  numbers  and  in  a  wide  variety  of  forms 
they  require  obviously  a  separate  treatment  in  subsequent  chapters. 
The  Nispannayogavall  of  Mahapandita  Abhayakara  Gupta  men- 
tions altogether  ihree  sets1  of  sixteen  Bodhisattvas.  Some  names 
occur  in  one  or  two  or  all  the  three  lists,  which  when  analysed, 
give  an  account  of  twenty-five  Bodhisattvas  in  all.  These  three 
lists  are  headed  in  one  by  Samantabhadra  and  in  two  others  by 
Maitreya,  the  Future  Buddha.  Images  of  many  of  these  Bodhisa- 
ttvas are  found  in  India,  but  their  number  is  the  largest  in  China 
as  would  be  seen  in  the  Two  Lamaistic  Pantheons  by  Walter 
Eugene  Clark.  The  three  lists  as  given  by  Abhayakara  Gupta  are 
stated  below  for  facility  of  comparison,  before  the  Bodhisattvas 
are  actually  described  with  the  help  of  the  Dlvyanas. 

List  No.  1  Samantabhadra,  Aksavamati,  Ksirigarbha,  Akasagarbha, 
Ganganaganja,  Ratnapani,  Sagaramati,  Vajragarbha,  Avalokitesvara, 
Mahasthamaprapta,  Chandraprabha,  Jalimprabha,  Amitaprabha,  Pra- 
tibhankuta,  Sarvasokatamonirghatamati,  Sarvanivaranaviskambhin. 


1.    NSP,  pp.  46,  50,  67. 


THE  BODHISATTVAS  83 

List  No.  2  Maitreya,  Manjusri,  Gandhahasti,  Jnanaketu,  Bhadra- 
pala,  Sagaramati,  Aksayamati,  Pratibhanakuta,  Mahasthamaprapta, 
Sarvapayanjaha,  Sarvasokatamonirghatamati,  Jaliniprabha,  Candrapra- 
bha,  Amitaprabha,  Gaganaganja,  Sarvanivaranaviskambhin. 

List  No.  3  Maitreya,  Amoghadarsin,  Apayanjaha-Saivapayanjaha, 
Sarvasokatamonirghatamati,  Gandhahasti,  Surangama,  Gaganaganja, 
Jnanaketu,  Amitaprabha,  Candraprabha,  Bhadrapala,  Jaliniprabha, 
Vajragarbha,  Aksayamati,  Pratibhanakuta,  Samantabhadra. 


1.    SAMANTABHADRA1 
Colour — Yellow  and  Blue  Symbol— Jewel 

/  The  Bodhisattva  Samantabhadra  (Universal  Goodness)  is  important 
as  the  leader  of  the  sixteen  Bodhisattvas  and  thus  is  not  a  whit  less 
important  than  the  Future  Buddha  Maitreya  who  is  at  the  head  of  the 
two  other  lists  of  Bodhisattvas.  Samantabhadra 's  popularity  is 
further  exemplified  by  frequent  mention  of  his  name  in  the  Nispanna* 
yogavali.  Samantabhadra  is  popular  both  in  Tibet  and  China  where 
his  images  are  frequent  and  numerous. 

/  He  is  described  several  times  in  the  Nispannayogavall  and  in  several 
places  his  form  is  identical  with  that  of  his  sire.  But  there  are  places 
where  his  independent  forms  are  described  which  are  important  for 
the  purpose  of  iconographic  studies.  These  are  mentioned  here./ 

In  the  Dharmadhatuvagisvara  Mandala  Samantabhadra  is  described 
as  follows  : 

Samantebhadrah  pltahsavyenavarado  vamena  utpalakhadgadharah. 

NSP,  p.  58. 

*' Samantabhadra   is  yellow   in  colour,   shows  the  Varada  (boon)  in  the 
right  Rand  and  holds  on  the  left  the  sword  on  lotus."  / 
|  In  the  Durgatiparisodhana  Mandala  he  is  described  as  :/ 

Samantabhadrah  suvarnavarno  ratnamanjaribhrddaksinapanih 
katisthavamamustih.  NSP,  p.  67. 

"Samantabhadra   is   of  golden    colour,  holds  a  bunch  of  jewels  in  the 
right  hand",  while  the  left  rests  on  the  hip,','  f 

I  Once  again  Samantabhadra  is  described  in  the  Kalacakra  Mandala. 
There  he  is  described  as  :  / 

Samantabhadrah  nllah  savyairvajrakartriparasun  vamah>ghanta> 
kapala*Brahmasirarhsi  dadhanah.  Brahmasirahsthane,  utpalam  va* 
Dharmavajrasamapanno'yam.  NSP,  p.  85. 

*  Samantabhadra  is  blue  in  colour  and  holds  in  his  three  right  hands 
the  Vajra,  the  Kartri  and  the  Para su,  and  in  the  three  left  hands  the 


1.     For  a  full  description  see  Hetty  :  GNB,  p.  47,  f. 


84  BUDDHIST  ICONOGRAPHY 

Ghanta,  the  Kapala  and  the  severed  head  of  Brahma.  Sometimes  the 
head  of  Brahma  is  replaced  by  the  Utpala.  He  is  embraced  by  his 
consort  Dharmavajra/'  I 

1  Although  images  of  Samantabhadra  are  not  rare  in  India,  the  bulk 
of  his  images  are  to  be  met  with  in  China,  At  least  five  images  of  the 
Bodhisattva  are  found  in  Peiping  alone.  l\  Fig.  48  is  a  Nepalese  drawing 
of  the  deity. 

I  Samantabhadra  is  popular  in  the  Sadhanamala,  although  only 
one  description  of  his  is  available.  In  the  Lokanatha  Sadhana  he  is 
described  as  :  / 

Samantabhadrah  pitabho  ratnotpalavarapradah 

Sadhanamala,  p.  49 

"Samantabhadra  is  of  yellowish  colour,  holds  the  jewel  on  a  lotus  and 
exhibits  the  Varada  Mudra  in  his  two  hands."  / 

fo  2.    AKSAYAMATI 

\:     Colour — Yellow  Symbol — Sword  or  Jar 

IThe  second  Bodhisattva  is  Aksayamati  (Indestructible  mind)  and 
his  name  is  widely  known  in  the  Buddhist  ritualistic  literature.  Aksa- 
yamati is  described  thrice  in  the  Nispannayogavall.^ 

In  the  Manjuvajra  Mandala  Aksayamati  is  described  as  : 

Aksayamatih  suvarnavarno  vamamustim  hrdyavasthapya  savyena 
varadamudrah.  NSP,  p.  50. 

/  ''Aksyamati  is  of  golden  complexion,  and  shows  the  clenched 
left  hand  against  the  chest,  and  exhibits  the  Varada  mudra  in 
the  right/'  I 

/  In  the  Dharmadhatuvagisvara  Mandala,  he  is   described  somewhat 
differently   as  :/ 

Aksayamatih      pitah     savyena     khadgam      vamenaabhayakamalam 
bibharti.  NSP,  p  58. 

/  "Aksayamati  is  yellow  in  colour  and  flourishes  the  sword  in 
the  right  hand,  while  he  exhibits  in  the  left  hand  the  Abhaya 
rnudra  and  the  Kamala."  j 

I  A  third  description  of  this  Bodhisattva  occurs*  in    the    Durgati- 
parisodhana  Mandala  and  he  is  described  in  the  following  words  : 
Aksayamatih  sito  h^stabhyarh  jnanamrtakalasadharl 

NSP,  p.  67. 

/  "Aksayamati  is  white  in  colour  and  with  his  two  hands  holds 
the  bowl  containing  the  nectar  of  knowledge."  / 

1.    Clark  :  TLP,  II,  pp.  8,  9,  52,  133,  274. 


THE  BODHISATTVAS  85 

(  A  Chinese  statuette1  depicts  him  in  the  form  of  the  Dhyani 
Buddha  Amoghasiddhi  with  the  right  hand  raised  against  the  chest 
in  the  Abhayamudra  and  the  left  resting  on  the  lap.  |  Fig.  49  is  a 
Nepalese  drawing  of  the  deity.  Fig.  50  illustrates  a  Chinese 
specimen. 

3.    KSITIGARBHA  * 
Colour — Yellow  or  Green      Symbol — Kalpa  Tree  on  Jar 

The  third  Bodhisattva  Ksitigarbha  (matrix  of  the  earth)  is  rarely 
represented.  He  is  described  twice  in  the  Nispannayogavali.  In 
one,  he  is  identical  with  his  sire  Vairocana  with  the  Cakra  symbol. 
In  another,  Ksitigarbha  is  described  in  the  following  words  : 

Ksitigarbhah  pito  daksinena  krtabhusparso  vamenabjastha*kalpa' 
drumadharah.  '  NSP,  p.  58. 

"Ksitigarbha  is  yellow  in  colour,  shows  the  earth -touching 
mudra  in  the  right  hand,  and  a  lotus  with  the  wish-giving  tree 
(kalpavrksa)  in  the  left." 

Ksitigarbha  is  illustrated  four  times  in  the  Peiping  collection  in 
different  forms. y  He  is  also  found  in  Tibet.1  Fig.  51  is  a  Nepalese 
drawing  of  the  deity. 

Under  Lokanatha  Sadhana  in  the  Sadhanamala  a  further  des- 
cription occurs  of  the  Bodhisattva  Ksitigarbha.  Here  he  is  des- 
cribed in  verse  as  : 

Ksitigarbhah   syamavarnah   kalasam  cabhayaiii  tatha. 

Sadhanamala,  p.  49. 

"Ksitigarbha  is  of  green  colour,  and  shows  in  his  two  hands 
the  jar  and  the  Abhaya  mudra/' 

4.    AKASAGARBHA' 
Colour — Green        Symbol — Jewel 

The  Bodhisattva  Akasagarbha  (essence  of  ether)  is  also  known 
by  the  name  of  Khagarbha,  the  words  "Kha"  and  "Akasa"  sig- 
nify the  same  thing  "Sky"  Akasagarbha  is  the  Bodhisattva  who 
lives  in  the  womb  of  the  sky. 

Akasagarbha  is  described  in  the  Dharmadhatuvagisvara  Mandala 
of  the  Nispannayogavali.  His  form  is  depicted  in  the  following 


1.  Clark:    TLP,  II,  p.    132. 

2«  For  further  information  see  Getty :  GNB.  p.  90,  et,  seq. 

3.  Clark  :  TLP,  II.  pp.  8.  9,  56,  274. 

4.  Gordon  :  ITL,  p.  60. 

5.  For  futher  information  see  Getty  :  GNB,  p.  101. 


60  BUDDHIST  ICONOGRAPHY 

words  : 

Akasagarbhah  syamah  savyena  sarvaratnavarsl  \amena  ciritamani- 
bbrt.  NSP,  p  58. 

"Akasagarbha  is  green  in  complexion,  with  the  right  hands 
he  showers  all  kind  of  jewels  and  with  the  left,  he  holds  the 
Cintamani  (wish-giving)  jewel." 

Altogether  four  illustrations  of  Akasagarbha  appear  in  the  two 
Lamaistic  Pantheons.  In  China,  he  is  represented  in  three  distinct 
forms.1  Two  statuettes  show  the  lotus  in  the  right  hand  and  the 
Varada  mudra  in  the  left.  The  third  is  three-faced  and  Mx-armed 
while  the  fourth  shows  the  jewel  in  the  right  hand  and  the  Varada 
mudra  with  the  jewel  in  the  left.  Fig.  52  is  a  Ncpalcse  drawing  of 
the  deity. 

Akasagarbha  is  recognized  by  his  second  name  of  Khagarbba 
in  the  Sa  llrmmala  and  under  the  Lokanatha  Sadhana  his  form  is 
described  as  follows  : 

Khagarlho  nabhahsyamabho    cintamanivarapradah. 

Sadhanamala,  p.  49 

"Khagarbha   is   green   as   the  sky,   holds  the    Cintamani  jewel     in' 
one  hand   and   exhibits  the   Varada   mudra   in   the     other." 


5.    GAGANAGANJA 
Colour  —  Yellow  or  Red       Symbol  —  Kalpa  Tree 

/  The   Bodhtsattva  Gaganaganja    is    described    four    times    in    the 
Nispannayogavall.     His   colour   is  yellow   showing    his     affiliation    to 
Ratnasambhavh   of  yellow  colour  with  the  Varada  mudra  and  the  jewel. 
In   the    Manjuvajra  Mandala  he  is   described   as:/ 

Gaganaganjah    suvarnavarno  vame  vajramustim  garvena    katyam 
nyasya  daksinam  gagane  bhramayan.  NSP,  p.  50* 

/  "Gaganaganja  is  of  golden  yellow  colour.  In  the  left  he  holds 
the  Vajra  with  in  clenched  hand  which  is  proudly  placed  on  the  hip, 
while  the  right  is  flourished  upwards  in  the  sky."  * 

/  The   Dharmadhatuvagisvara  Mandala  describes  him  with  the  follow- 
ing words  ;  ' 

Gaganaganjah  pirah  savyena  Cintamanibhrd-vamena    bhadraghata- 
valambitakalpavrksam  dadhanab.  NSP,  p.  58. 

I  "Gaganaganja  is  yellow  and  shows  the  Cintamani  jewel  in  the 
right  hand.  In  the  left,  he  holds  the  auspicious  bowl  from  which 
is  suspended  a  Kalpa  (wish-giving)  tree."  I 


1.    Clark  :  TLP,  II.  pp.  8,  9,  56,  273.    Also  NSP.  introduction  p  25. 


TH£  BODHISATIVAS  S? 

/  A  third  description  of  Gaganaganja  occurs  in  the  Durgatipari* 
sodhani  Mandala.  There  his  form  is  as  under:  / 

Gaganagnnjah      sitapitah    savyena    padmasthadharmaganjadhanilh 
katisthdvamahastah.  NSP,  p.  67 

I "Gaganaganja  is  whitish  yellow  in  complexion.  He  holds  the 
Dharmaganja  on  lotus  in  the  right  hand,  while  his  left  hand  rests  on  the 
hip/  / 

/  Ga^anaganja  is  also  represented  in  the  same  form  as  his  sire  Ratna- 
sambhiua  of  yellow  colour.  In  the  Two  Larnaistic  Pantheons  Gagana- 
gnnja  occurs  only  once  and  he  is  of  the  same  form  as  his  sire  Ratnasam' 
bhava,)  Fig.  53  is  a  Nepalese  drawing  of  the  Bodhisattva. 

I  Bodhisattva  Gaganaganja  is  not  unknown  to  the  SaJhanamala.  In 
the  Loknatha  Sadhana,  a  iJhort  description  of  the  deity  is  available.  It 
runs  as  follows  :  ( 

Gaganaganjo  raktavarno  mlotpalavarapradah 

.  Sadhanumala,  p.  49. 

Gaganaganja  of  red  colour,  holds  the  blue  lotus  and  exhibits  the 
Varda  rnudra  in  his  two  hands."  I 

6.  RATNAPAN1  2 
Colour—Green  Symbol— Jewel  or  the  Moon 

The  Bodhisattva  Ratnapani  (Jewel  bearer)  is  described  only  once  in 
the  Dharmadhatuvaglsvara  Mandala  of  the  Nispannayogavall.  Here  he 
is  described  as  : 

Ratanapanih  syamo  daksinapanina   ratnam  vamenabjastha-candra- 
mandalam  bibhranh.  NSP,  p>  58, 

"Ratnapani  is  green  in  colour,  holds  the  jewel  in  the  right  hand,  and 
the  disc  of  the  moon  on  lotus  in  the  left  hand/' 

He  is  the  Bodhisattva  of  the  Dhyani  Buddha  RatnasamHrava  and  as 
such,  he  is  sometimes  represented  in  Nepal  and  Tibet  His  image  is  not 
found  in  the  Chinese  collection.  Fig.  54  is  a  Nepalese  drawing  of  the 
Bodhisttva. 

7.  SAGARAMATI 

Colour— White  Symbol— Sea  Wave  or  Conch 

Bodhisattva    Sagaramati  (  ocean  mind  )  is  twice  described  in    the 
Nispannayogavali.     In  the  Manjuvajra  Mandala,  he  is  described  as: 
Sagaramatih  sito  hastadvayaprasaritah  sarvahgulibhistaran^abhinayi 

NSP,  p.  50. 

1,  Clark  :  TLP,  II.  p.  136. 

2.  For  futher  information  see  Getty  t  GNB,  p,  53,  $4. 


33  BUDDHIST  ICONOGRAPHY 

"Sagaramati  is  white  in  colour  with  both  hands  outstretched  and  the 
fingers  displaying  the  sea-waves. " 

In  the  Dharmadhatuvagisvara  Mandala  he  is  once  again  described  as  : 

Sagaramatih  sitah  savyena  samkhamvamena  vajrakhadgam  dadhanah. 

"  NSP,  p.  58. 

"Sagaramati   is   white  in  colour,  holds  in  the  right  hand  the  conch, 
and  in  the  left  a  sword  marked  with  a  Vajra." 
Fig.  55  is  a  Nepalese  drawing  of  Sagaramati. 

8.    VAJRAGARBHA 
Colour — Blue  or  Bluish  White  Symbol—  juMbdonuiiuKa  Scripture 

'  The  Bodhisattva  Vajragarbha  (matrix  of  Thunderbolt)  is  described 
twice  in  the  NispannayogavalL  In  the  Dharmadhatuvagisvara  Mandala 
he  is  described  as  :  I 

Vajragarbho  mlotpaladalavarno  daksmena  vajram  vamena  dasabhii' 
mikapustakadharah.  NSP,  p.  58. 

''Vajragarbha  is  of  the  colour  of  the  petal  of  a  blue  lotus  and  holds  in  the 
right  hand   the  Vajra  and  in  the  left  the  book  called  the  Dasabhumika." 
|  In  the  Durgatiparisodhana  Mandala  Vajragarbha's   form  is  depicted 
thus  : 

Vajragabho  mlasitah  savyena  mlotpaladharah  katinyastavamamustih. 

NSP,  p.  67.  ' 

"Vajragarbha  is  of  bluish   white  colour  and  holds  the  blue  lotus  in  the 
right  hand  while  the  clenched  left  rests  on  the  hip."    * 

His  images  are  rare,  and  he  is  not  represented  in  the  Chinese  collec- 
tion. Fig.  56  is  a  Nepalese  drawing  of  Vajragarbha. 

9.    AVALOKITESVARA 
(Colour — White  Symbol — Lotus 

The  Bodhisattva  Avalokitesvara  (The  Watchful  Lord)  also  called 
Padmapani  (Lotus  bearer)  is  the  spiritual  son  of^  the  Dhyani  Buddha 
Amitabha.  He  is  one  of  the  most  popular  Bodhisattvas  <pf  the  Buddhist 
Pantheon  having  as  many  as  108  different  forms.  A  separate  chapter 
is  devoted  to  this  Bodhisattva  in  this  work.  Here  only  his  special  form 
that  occurs  in  the  Nispannayogavali  in  the  list  of  Sixteen  Bodhisattvas 
will  be  referred  to.  * 

Avalokitesvara  is  described  in  the  Dharmadhatuvagisvara  Mandala  as: 
Avalokitesvarah  subhrah  savyena  varado  vamena  sarojadharah. 

NSP,  p.  58. 

"Avalokitesvara  is   white  in  colour  ;  he  displays  the  Varada  mudra  in 
the  right  hand  and  in  his  left,  he  holds  the  lotus," 


THE    BODHISATTVAS  89 

Avalokitesvara  is  four  times  illustrated    in    the    Two    Lamaistic 
Pantheons  ]«     Fig.  57  is  a  Nepalese  drawing  of  Avalokitesvara, 

10.    MAHASTHAMAPRAPTA 
Colour  —  White  or  Yellow  Symbol  —  Six  Lotuses  or  Sword 

The    Bodhisattva    Mahasthamaprapta  (one  who  has    obtained  great 

strength)  is  described  twice  in  the  Nispannayogavali.  In  the  Manjuvajra- 

Mandala  he  is  described  us  : 

Mahasthamapraptah     sito   vamena    sat-vikasitapadmadhari  savyena 
varadah.  NSP,  p.  50. 

"Mahasthamaprapta   is  white  in  colour  and  holds  in   his  left  hand  a 

bunch   of  six  full-blown   lotuses,   while  the  right  displays  the   Varada 

mudra." 

In   the   Dharmadhatuvaglsvara  Mandala,   he  is  once  again  described 

with  the  following  words  : 

Mahasthamapraptah      pltah     savyena     khadgam   vamena     padmam 
dadhanah.  NSP.  p.  58 

''Mahasthamaprapta  is  yellow  in  colour.     He  holds  the  sword  in  the 

right  hand,  and  the  lotus  in  the  left/' 

In   the  Chinese    collection,    Mahasthamaprapta    occurs^  only  once1'. 

Fij?.  58  is  a  Nepalese  drawing  of  Mahasthamaprapta. 

11.    CANDRAPRABHA 
r  —  White  Symbol  —  Moon  on  Lotus 

I  Bodhisattva  Candraprabha  (Light  of  the   Moon)   is   described   thrice 
in  the  NispannayogavalL  In  the  Manjuvajra  Mandala  he  is  described  as  :• 
Candraprabhah  candravamo     vamenotpalastha'candramandaladharl 
daksinena  varadah  NSP.  p.  50. 

,'  "Candraprabha  is  of  white  colour  like  the  moon.  He  holds  in  his  left 
hand  the  disc  of  the  moon  on  a  lotus,  and  displays  the  Varada  mudra 
in  his  right.  "f 

\  Candraprabha  is  described  in  the  Dharmadhatuvaglsvara  Mandala  in 
the  following  words  :  \ 

Candraprabhah    subhrah   savyena  vajracakram  vamena   padmastha^ 
candramandalam  dhatte.  NSP.  p.  58. 

I  "Candraprabha  is  white  in  colour.  He  holds  in  his  right  hand  the 
discus  marked  with  a  Vajra,  and  in  the  left  the  disc  of  the  moon  on 
a  lotus."  i 


1.     Clark  :  TLP,  Vol.  II,  p.  7,  11,  161,  195.     For  further  information  on  Avaloki- 
te^vara  and  his  forms  in  Tibet,  China  and  Japan,  see  Getty  :  GNB,  p.  55  f. 

2*    Clark:    TLP,    II.    p  160.     For    further  information  on  the  deity  see  Getty  : 

GNB,  p.  115.  , 

12 


90  BUDDHIST  ICONOGRAPHY 

» In  the  Durgatiparisodhana  Mandala  he  is  described  differently  as 
follows  :  I 

Candraprabhah   subhrah  savyena  padmasthacandrabimbam  bibhri' 
nah  katisthavamamustih.  NSP.  p.  67 

I  "Candraprabha  is  white  in  colour.  He  holds  the  moon  on  a  lotus  in 
the  tight  hand  while  the  clenched  left  rests  on  the  hip."  1 

Thus  the  recognition  symbol  of  Candraprabha  is  the  moon  on  lotus. 
In  the  Chinese  collection  Candraprabha  occurs  only  once1.  Fig,  59  is 
a  Nepalese  drawing  of  Candraprabha 

^  12.    JALINTPRABHA 

Colours-Red  Symbol — Sun*disc 

»The  Bodhisattva  Jaliniprabha  (Light  of  the  Sun)  is  also  known  by 
the  name  of  Suryaprabha  and  he  is  described  three  times  in  the  Nispan^ 
nayogavali.  In  the  Manjuvajra  Mandala  he  is  described  as  :  ] 

Jaliniprabho    rakto     vamenotpalastha-suryamandaladhari     savyena 
varadah,  NSP.  p.  50. 

i  "Jaliniprabha  is  of  red  colour.  He  holds  the  disc  of  the  sun  on  a 
lotus  in  the  left  hand  while  the  right  displays  the  Varada  mudrS., 

I  Jalimprabha  is  again  described  in  the  Dharmadhatuvaglsvara 
Mandala  as  :  1 

Jalimprabhah  sitaraktah  savyenasirh  vamenabjasthasuryarh' 

NSP.  p.  58. 

1 ' Jalimprabha  is  whitish  red  in  complexion.     He  holds  the  sword   in 
the  right  hand  and  the  disc  of  the  sun  on  a  lotus  in  the  left  hand/' 
i  In  the  Durgatiparisodhana  Mandala  he  is  described  further  as  :J 
Jalimprabho  raktah  savyena  vajrapanjararh  bibhranah  katisthavam- 
amustih. NSP.  p.  67, 
|    *'Jaliniprabha   ^s  red   in  colour.     He  holds  the  Vajrapanjara   (Vajra 
marked  cage)  in  the  right  hand  while  the  clenched  left  rests  on  the  hip.)' 
H  The  symbol  of  Jaliniprabha  is  the  disc  of  the  sun  and  his   red 
colour  suggests   that    he  is  the  spiritual  son    of  the  Dhyani  Buddha 
Amitabha.  In  the  Chinese  collection  he  is  represented  as  Amitabha2J 
Fig.  60  is  a  Nepalese  drawing  of  Jalimprabha. 

13.    AMITAPRABHA 
Colour — White  or  Red  Symbol — Jar 

'  The  Bodhisattva  Amitaprabha  (  Boundless  Light)  also  spelt  as 
Amrtaprabha  (Light  of  Nectar)  is  described  t^jice  in  the  Nispannayoga- 

1.  Clatk  :  TLP,  II.  p.  147.  ~" 

2.  Clark  :    TLP,  II,  p,  132 


THE  BODHISATTVAS  91 

t 

vali.  Twice  he  is  mentioned  as  of  white  colour  and  only  once  as  red. 
It  thus  appears  that  Amitaprabha  should  belong  to  the  family  of 
Vairocana  because  of  his  white  colour.  His  spiritual  father  will  be 
Amitabha  when  he  is  red  in  colour,  f 

j   In  the  Durgatiparisodhana  Mandala,  Amrtaprabha  is  described  as  :  I 
Amrtaprabhah  subhrah  mukutoparyamrtakalasabhrtsavyakarah  katis* 
thavamamustih.  NSP.  p.  67. 

t  "Amrtaprabha  is  white  in  colour.  In  his  right  hand  he  holds  the  jar 
of  nectar  on  the  crown  of  his  head.  His  clenched  left  hand  rests  on 
the  hip."| 

|  In  the  Manjuvajra  Mandala  he  is  once  again  described  as  :< 
Amitaprabhah  raktah  hastadvayena  abhisekakalasadharl, 

NSP.  p.  50. 

|  "  Amitaprabha  is  of  red  colour  and  holds  in  his  two  hands  the  jar 
required  in  the  bath  of  initiation.  '| 

I  In  the  Dharmadhatuvaglsvara  Mandala  a  further  description  of  the 
deity  appears  :l 

Amitaprabhah  sitah  savyena  visvapadmarh  vamena- 
bjasthakalasam  bibhranah.  NSP.  p.  59. 

|  "Amitaprabha  it>  of  white  colour.  With  the  right  hand  he  holds  the 
double  lotus  and  with  the  left  hand  a  jar  on  lotus.  "I 

|  The  jar  of  consecration  is  thus  the  recognition  symbol  of  the 
Bodhisattva.i 

Fig.  61  is  an  illustration  of  a  Nepalese  drawing  of  Amitaprabha. 


14.     PRATIBHANAKUTA 
Colour  —  Green,  Yellow  or  Red  Symbol  —  Whip 

*  The  Bodhisattva  Pratibhanakuta  is  described  thrice  in  the  Nispanna^ 
yogavali.     In   one   he   is  green  in  colour,  in  the  second  he  is  yellow  and 
in  the  third  red,  thus  affiliating  himself  to  the  families  of  Amoghasiddhi, 
Ratnasambhava  and  Amitabha./ 
(  In  the  Manjuvajra  Mandala  he  is  described  as  :    I 

Pratibhanakutah  syama  utsangavamamustir-daksinena 
chotikapradah.  .  NSP.  p.  50. 

("Pratibhanakuta  is  of  green  colour.     His  clenched  left  hand  is  placed 
on  the  lap,  while  he  flourishes  the  whip  with  the  right  hand."/ 
i   His  description  in  the  Dharmadhatuvaglsvara  Mandala  is  as  follows  ; 
Pratibhanakutah  pito  daksinena  chotikam  vamena 
padmasthakrpanam  dhatte.  NSP,  p.  59. 

/  ^Pratibhanakuta  is  of  yellow  colour.     With  the  right  hand  he  holds 
the  whip  and  with  the  left,  a  sword  placed  on  lotus."    / 


92  BUDDHIST  ICONOGRAPHY 

J 

The  Durgatiparisodhana  Mandala  describes  his   form  with  the  follo- 
wing words  :  f 

Pratibhanakuto  raktah  savyenabjasthamukutadharl 
katisthavamamustih.  NSP,  p.  67. 

' "Pratibhanakuta  is  red  in  complexion.  With  the  right  hand  he  holds 
the  crown  placed  on  a  lotus,  while  his  clenched  left  hand  rests  on 
the  hip."/ 

He   is   not  represented   in  the  Chinese  collection,  nor  his  images  are 
found  in  India.     Fig.  62  is  a  Nepalese  drawing  of  Pratibhanakuta, 

15.    SARVASOKATAMONIRGHATAMATI 

Colour— Whitish  Yellow.  Yellow  or  Red  Symbol— Staff 

I'  This   Bodhisattva    who  destroys  all  sorrows  and  inertia  is  described 
thrice  in  the   Nispannayogavali      He  is  given  twice  the  yellow  colour  or 
the  colour  of  gold  or  whitish  yellow  and  once  the  red.     Thus  the  Bodhi- 
sattva undoubtedly  belongs  to  the  family  of  the  Dhyani    Buddha   Ratna- 
sambhava,  although  red  suggests  Amitabha  also.  * 
d  The  Durgatiparisodhana  Mandala  describes  him  as  :| 
Sarvasokatamonirghatamatih  sitapltamisravarnah 
dandabhrtsavyakarah  katisthavamamustih.          NSP.  p.  66. 
I    r<  Sarvasokatamonirghatamati  is  of  mixed  white  and  yellow    colour. 
With  his  right  hand   he   holds  the  staff  while  his  clenched  left  hand 
rests  on  the  hip.5'  1 

I  The  Manjuvajra  Mandala  describes  him  with  the  following  words): 
Sarvasokatamonirghatamatih  kanakakantih 
hastadvayasamputena  praharabhinayi.  NSP.  p.  50. 

*  "Sarvasokatamonirghatamati  is  of  golden  complexion.  With  his  two 
hands  joined  palm  to  palm,  he  displays  the  attitude  of  striking."! 
,  |  In  the  Dharmadhatuvagisvara  Mandala  his  description  is  as  undetfy 
Sarvasokatamonirghatamatih  kurhkumavarnah  savyena 
pancasucikakulisam  vamena  saktim  dadhanah.  fel $P,  p.  59. 

|  Sarvasokamonirghatamati  is  of  the  red  colour  of  Kumkuma 
(vermillion).  With  his  right  hand  he  holds  the  Vajra  with  five  thongs 
and  with  the  left,  the  Sakti  ( javelin )J  t 

In  the  Chinese  collection,  this  Bodhisattva  is  illustrated  twice 
as  Tamodghatamati  and  as  Sokanirghatamati1.  Fig.  63  illustrates  a 
Nepalese  drawing  of  Sarvasokatamonirghatamati. 

16.    SARVANIVARANAVISKAMBHIN 
Colour— White  or  Blue  Symbol— Sword  and  Book 

Sarvanivaranaviskambhin  is   the    Bodhisattva  who  is    the    effacer 
1.    Clark:    TLP,  II,  pp.  192,  135. 


THE  BODHISATTVAS  93 

of  all  sins.  Two  independent  forms  of  this  Bodhisattva  are  described 
in  the  Nispannayogavall.  His  colour  is  either  blue  or  white  and 
thus  he  is  the  spiritual  son  of  Aksobhya  in  one  psychic  school 
and  of  Vatrocana  in  another. 

The  Manjuvajra  Mandala  describes  him  as  : 

Sarvanivaranaviskambhl  mlah  suklo   va  vamena  bhusparsl  daksine 

mustitarjanyangusthau  sammllya  prasamabhinayi.         NSP.  p.  50. 

"Sarvanivaranaviskambhl  is  of  either  blue  or  white  colour.  With 
the  left  hand  he  displays  the  Bhusparsa  (earth-touching)  mudra  ;  with 
the  thumb\ind  the  index  finger  joined  together  in  the  clenched 
right  hand  he  displays  the  act  of  pacification." 

In  the  Dharmadhatuvagisvara  Mandala  he  is  described  in  the  follow- 
ing words  : 

Sarvanivaranaviskambhl  mlah  krpanabhrtsavyapanih   vamena  visva- 

vajrankapatakadharah.  NSP,  p.  59. 

"Sarvanivaranaviskambhl  is  blue  in  colour.  With  his  right  hand 
he  holds  the  sword  and  with  the  left  the  banner  marked  with  a 
double  thunderbolt/' 

This  Bodhisattva  is  also  known  by  his  shorter  name  of  Viskambhin, 
and  his  statuettes  occur  at  least  four  times  in  the  Chinese  collection1. 
He  is  popular  also  in  Tibet-*  Fig.  64  is  a  Nepalese  drawing  of  the 
Bodhisattva. 

This  Bodhisattva  under  his  shorter  name  Viskambhin  appears 
also  in  the  Sadhanamala.  In  the  Lokanathasadhana  his  description 
is  as  under  : 

Viskambhl  tu  ksaravarno  ratnottamavarapradah 

Sadhanamala,  p.  50. 

" Viskambhin  is  of  the  colour  of  ash,  and  holds  the  excellent  jewel 
and  the  Varada  mudra  in  his  two  hands."  / 

I*  17.    MAITREYA        ^ 

Colour — Golden  Yellow  Symbol — Nagakesara  Flower 

]  The  Bodhisattva  Maitreya  who  is  supposed  to  be  waiting  in  the 
Tusita  heaven  in  order  to  come  down  to  earth  as  the  Future  Buddha 
is  described  several  times  in  the  Nispamiayogavali  Maitreya  heads 
the  list  of  Bodhisattvas  in  the  Manjuvajra  Mandala.  Although  he 
takes  the  form  of  his  spiritual  sires  Vairocana  and  Aksobhya  two 
of  his  independent  forms  are  nevertheless  available,  / 

[  In  the  Manjuvajra  Mandala  he  is  described  as  :  / 

L    Clark  :    TLP,  II,  pp.  7,  Jl,  52,  274 

2.    Gordon  :  ITL,  p*  104  ;  Getty  :  GNB,  p.  107. 


94  BUDDHIST  ICONOGRAPHY 

Maitreyah  suvarnavarno  dvabhyam  krtadharmadesanamudro  varada- 
savyakaro  vamena  sapuspanagakesarapallavadharah.      NSP.  p.  50 
(    "Maitreya   is   of  golden   colour.     With   the   two     principal   hands 
he  displays   the     Dharmacakra  mudra.     The  other    two    hands    show 
the  Varada   mudra  in   the   right  and  the  twig  of  a   Nagakesara  with 
flower  in  the  left."/ 
I  In  the  Durgatiparisodhana  Mandala  his  description  is  as  under  :  / 

Maitreyah   pitah   savyakarena  nagakesarakusumarh  vamena  kundirh 
dadhanah.     '  '  "  NSP.  p.  66. 

I  "Maitreya   is   yellow   in   colour.     He   holds   in  his    right  hand   the 
flower  of  Nagakesara  and  with  the  left  the  mendicant  bowl/'/ 

/  In  the   Chinese   collection   his   statuettes  occur   at  least  six  times 
and  he   is  variously   represented1.     The    Nagakessra  flower  is    his  chief 
recognition   symbol   both   in   China   and   in   India.     He  is   found   also 
in  Tibet"/     Fig.  65  is  a  Nepalese  drawing  of  the  Bodhisattva. 
/  In  the  Sadhanamala  his  description  is  simple  :  / 

Maitreyah  pitavarnasca  nagapuspavarapradah.     Sadhanamala,  p.  49. 
'   "Maitreya   is   yellow   in   colour   and  shows  the  Naga  flower  and  the 
Varada  mudra/'/ 

18      MANJUSRI~>  V 

Colour — Golden  Symbol — Sword  and  Book 

Like   Avalokitesvara    Manjusri   is   worshipped  in  all  Buddhist  coun^ 

tries   and    has   a    variety  of  forms.     Manjusri  has   several   names   such 

as    Manjuvajra,    Manjughosa,    Dharmadhatuvagisvara      and    so    forth. 

His  wide   variety  of  forms,  and   his  legendary   origin  deserve  a  separate 

treatment  in  a  later  chapter. 

As   one   of  the   sixteen  Bodhisattvas    Manjusri   is  taken  as  second 

in  the  group   headed    by    Maitreya.    Manjusri   does  not   find   mention 

in  the  list  headed  by  Samantabhadta. 

In   the    Manjuvajra  Mandala  Manjusri    comes   as   a  Bodhisattva  in 

the    third   circle   of  deities   surrounding  the   principal  god  Manjuvajra 

who   is   represented   along     with   his    Prajna   or    female    counterpart. 

According  to  Nispannayogavall,  Manjusri  should  have  the  same  for  An 

as  the  principal  deity  but  he  should  have  no  Prajna, 

Thus  the  form  of  Manjusri  will  be  of  the  following  description  : 
Pltanllasuklasavyetaravaktrah     sadbhujo    daksinaih     khadgavarada- 
banan  vamaih  prajnaparamitapustakanllabjadhanurhsi  bibhranah. 

__  *  NSP.  p."  48. 

1.  Clark:  TLP,  II,  7,  9,  59,  143.  195,  202  * 

2.  Gordon  :    H  L,  p.  104,  107 

3.  For    a   detailed  account  of  the  legendary  origin  of  the  deity  and  his    forms  in 
Tibet,  China  and  Japan.    See  Getty  :     GNB.  pp.  112,  113 


THE  BODHISATTVAS  95 

"Manjusri  is  three  faced,  with  the  three  faces  of  yellow,  blue  and 
white  colour.  He  is  endowed  with  six  arms  ;  in  his  three  right  hands 
he  holds  the  sword,  Varada  mudra  and  the  arrow,  and  in  the  three 
left  shows  the  Prajnaparamita  book,  the  blue  lotus  and  the  bow." 

Next  to  Avalokitesvara,  Manjusri  is  important  in  the  Buddhist 
pantheon  as  the  God  of  Learning  with  the  sword  for  destroying 
ignorance  and  the  book  of  transcendental  wisdom,  His  images  are 
numerous,  and  the  Chinese  collection  presents  no  less  than  five 
different  statuettes  showing  his  great  popularity  in  China1,  Fig  66 
illustrates  a  Nepalese  drawing  of  the  Bodhisattva, 

Manjusri  as  one  of  the  eight  Bodhisattvas  is  recognised  by  the 
favourite  name  of  Manjughosa  (soft  voice)  and  under  this  name  he 
is  described  in  the  Lokanathasadhana  of  the  Sadhanamala  The 
text  is  : 

Manjughosah  kanakabhah  khadgapustakadharakah* 

Sadhanamala,  p.  49. 

"Manjughosa  is  of  golden  colour  and  he  holds  in  his  two  hands 
the  sword  and  the  book.0 

19.    GANDHAHASTI 
/I 

Colour— Green  or  Whitish  Green 

Symbol — Elephant's  Trunk  or  Conch 

1  The   Bodhisattva  Gandhahasti  is  mentioned  in  the  Nispannayogavali 
as  belonging  to  the  group  of  sixteen  Bodhisattvas  headed  by  Maitreya 
and  is  described  in  two  independent  forms.  In  one  prominence  is  given 
to  the  word  'Hasti'  and  in  the  other  to  'Gandha'.  ' 
t  In  the  Manjuvajra  Mandala  he  is  described  as  follows  :    / 
Gandhastih  syamo  vamena  kamalasthahastikaradhari 
savye  varadah.  NSP.  p.  50. 

/  ''Gandhahasti  is  green  in  colour  and  holds  in  the  left  hand  the  trunk 
of  an  elephant  on  a  lotus.  The  right  hand  exhibits  the  Varada 
mudra."  / 

|  In  the  Durgatiparisodhana  Mandala  on  the  other  hand  the  Bodhisatt> 
va  is  described  somewhat  differently  as  -J 

Gandhahastih  sitasyamah  savyena  gandhasarhkhadharah 
katisthavamamustih.  NSP,  p.  66* 

I  "Gandhahasti  is  whitish  green  in  colour.  He  holds  in  his  right  hand 
the  conch  containing  sandal  paste.  The  clenched  left  is  placed  on 
the  hip."  I 

1,    Clark:    TLP,  II.  pp.  7,  11,  53,  198  199  ~ 


96  BUDDHIST  ICONOGRAPHY 

1  This  Bodhisattva  is  represented  only  once  in  the  Chinese  collection.1 
His  images  are  very  rare.  /  Fig.  67  illustrates  a  Nepalese  drawing  of 
the  Bodhisattva. 

20.    JNANAKETU 

Colour— ^llow  or  Blue  Symbol  -Flag  with  Cintamani  jewel 

u\ 
I  The    Bodhisattva    Jnanaketu    is    mentioned  as   one   ol  the    sixteen 

Bodhisattvas    under  the    leadership  of   Maitreya.     Two    independent 
forms  of  his  are  described  in  the  Nispannayogavall.  / 
(  In  the  Manjuvajra  Mandala  he  is  described  as  :     / 

Jnanaketuh  plto  vamena  cintamanidhvajadharl 
savyena  varadah.  NSP.  p.  50. 

I  "Jnanaketu  is  yellow  in  colour.  He  holds  in  his  right  hand  the  flag 
marked  with  the  Cintamani  jewel.  The  left  hand  displays  the  Varada 
mudra  "  / 

£  In  the  Durgatiparisodhana  Mimdala  he  is  described  somewhat  differ^ 
ently  as  :  t 

Jnanaketu  nilah  cintamanidhvajabhrddaksinapanih 
katisthavamamustih. .  NSP.  p.  67. 

I  **Jnanaketu  is  blue  in  colour.  He  hold&  in  his  right  hand  the  flag 
marked  with  the  Cintamani  jewel.  The  clenched  left  hand  rests  on 
the  hip."  / 

I  Jnanakaketu  occurs  only  once  in  the  Chinese  collection,  where  his 
form  is  identical  with  his  sire  Ratnasambhava  L'|  Fig.  68  is  a  Nepalese 
drawing  of  the  deity. 

21.    BHADRAPALA 

Colour — Red  or  White  Symbol — Jewel. 

1» 
The  name  of  Bhadrapala  occurs  in  the  second  list  of  sixteen  Bodhis- 
attvas headed  by  Maitreya.     At  least  two  independent   forms  of  this 
Bodhisattva  are  to  be  found  in  the  Nispannayogavall.    /        £  j 
i  In  the  Manjuvajra  Mandala  his  form  is  described  with  the  following 

words  :  i 

Bhadrapalo  raktavarno  vamena  ratnabhrd^daksinena  varadah." 
.  "  '  '  NSP.  p.  50. 

/  Bhadrapala  is   of  red  colour.    He  holds  in  his  left  hand  the  jewel, 

while  the  right  displays  the  Varada  mudra."  J 
I  In  the  Durgatiparisodhana  Mandala  again  he  is  described  Vsomewhat 

differently  as  :    / 

Bhadrapalah  subhrah  savyena  sajjvalaratnadhari 
katisthavamamustih.  NSP,  p.  67 

1,  Clark  ;  TLP,  II,  p.  135. 

2.  Clark  :  TLP,  II,  p.  146, 


THE  BODHISATTVAS  97 

I   "Bhadrapala  is  white  in  colour.    He  holds  in  his  right  hand  the 
glistening  jewel,  while  his  clenched  left  hand  rests  on  the  hip  "    / 

t  Bhadrapala  is  represented  only  once  in  the  Chinese  collection  and 
there  his  form  is  identical  with  that  of  his  sire  Amitabha  */.  Fig,  69 
illustrates  a  Nepalese  drawing  of  Bhadrapala, 

H      22.    SARVAPAYANJAHA. 
Colour  —  White  Symbol  —  Act  of  removing  sin  or  goad. 

«  Bodhisattva  Sarvapayanjaha  (Remover  of  all  miseries)  is  also  known 
by  his  shorter  name  of  Apayanjaha  and  is  described  twice  in  the 
Nispannayogavali  in  two  independent  forms.  I 

(   In   the    Manjuvajramandala  this  interesting  Bodhisattva  is  described 
as  :    / 

Sarvapayanjahah  suklo  hastadvayena  papaksepanabhinayl. 

'  NSP.  p.  50. 

v  "Sarvapayanjaha  is  white  in  colour.  With  his  two  hands  he  displays 
the  act  of  removing  all  sins."  / 

(.In  the  Durgatiparisodhanamandala  he  is  described  as  Apayanjaha 
with  the  following  words  :  / 

"Apayanjahah  sveto'nkusabhrtkaradvayah.  NSP.  p.  66. 

L"  Apayanjaha  is  of  white  colour.  With  both  hands  he  carries  the 
Ahkusa  (goad)/'  / 

I  He  is  represented  twice  in  the  Chinese  collection.  In  one  he  is 
identical  with  his  spiritual  sire  Aksobhya  with  the  Bhusparsa  mudra 
and  in  another  his  right  hand  with  open  palm  rests  against  the  chest 
while  the  left  shows  the  act  of  forbidding.  Perhaps  this  attitude  is 
identical  with  the  act  of  removing  sin  |y.  Fig.  70  is  a  Nepalese 
drawing  of  tjae  deity.  Fig.  71  illustrates  his  Chinese  stautette. 
%  S  23.  AMOGHADARSIN  <</ 


Colour  —  Yellow  Symbol  —  Lotus 

1  The  name  of  Bodhisattva  Amoghadarsin  appears  in  the  third  list  of 
sixteen  Bodhisattvas  headed  by  Maitreya  in  the  Nispannayogavali.  The 
Durgatiparisodhanamandala  contains  the  only  one  description  as 
available  in  the  work.-  There  his  form  is  described  in  the  following 
words  :  \ 

,  AmoghadarsI  pltah  sanetrambhojabhrd*daksinakarah 
katisthavamamu^tih.  NSP.  p.  66, 

1.  Clark  :  TLP,  II,  p.  147-  -        •     ,  j. 

2,  Clark:  TLP,  II,  pp.  143,  169. 

13 


98  BUDDHIST  ICONOGRAPHY 

'  "Amoghadarsi  is   yellow  in  colour.     In  his  right  hand  he  holds  the 
lotus  with  its  central  core,  while  the  clenched  left  rests  on  the  hip."/ 

Amoghadarsin's  statuette  occurs  thrice  in  the  Chinese  collection  1 . 
Fig.  72  is  a  Nepalese  drawing  of  Bodhisattva  Amoghadarsin. 


24.    SURANGAMA. 
Colour — White  Symbol — Sword. 

\  Surahgama's  name  occurs  in  the  third  list  of  the  sixteen  Bodhis* 
attvas  headed  by  Maitreya.  In  the  Nispannayogavali  his  name  is 
referred  to  twice  only  and  his  single  independent  form  is  described  in 
the  Durgatiparisodhanamandala  as  under  :  | 

Surangamah  subhrah  savyena  asidharah  katisthavamamustih 

NSP.  p.  67. 

V  " Surangama  is  white  in  colour.  He  holds  the  sword  in  the  right 
hand,  while  the  clenched  left  is  placed  on  the  hip."  / 

I  In  the  Chinese  collection  Surangama  is  represented  only  once,  and 
that  too  in  a  different  form  l>.  I  Fig.  73  illustrates  a  Nepalese  drawing 
of  the  Bodhisattva  Surangama. 

25.    VAJRAPANL 
Colour— White  Symbol— Vajra. 

The  Bodhisattva  Vajrapani  although  not  included  in  the  three  lists 
of  Bodhisattvas  as  available  in  the  Nispannayogavali,  is  nevertheless 
important  as  one  of  the  eight  principal  Bodhisattvas  enumerated  in  the 
Sadhanamala  in  Sadhana  No.  18  for  Lokanatha.  This  list  of  eight 
Bodhisattvas  is  also  headed  by  Maitreya  and  consists  of  : 

1.  Maitreya  5.  Manjughosa 

2.  Ksitigarbha  6.  Gaganaganja 

3.  Vajrapani  7.  Viskambhin 

4.  Khagarbha  8.  Samantabhadra 

The  description  of  Vajrapani  also  occurs  under  the  Lokanathsadhana 
in  the  Sadhanamala.  A  half  verse  here  describes  Vajrapani  : 

Vajrapanisca  suklabho  vajrahasto  varapradah. 

Sadhanamala,  p.  49. 

"Vajrapani  is  of  white  colour,  carries  the  Vajra  in  one  hand  and 
displays  the  Abhaya  mudra  in  the  other." 

1.  Clark  :TLP,  II,  pp.  20,  143,  247. 

2.  Clark  :  TLP.  II,  p.  135. 


THE  BODHISATTVAS  99 

This  Bodhisattva  of  the  Dhyani  Buddha  Aksobhya  is  popular  in 
China  and  at  least  five  statuettes  are  noted  in  the  Two  Lamaistic 
Pantheons,  Vol.  II.  l  Tibetan  specimens  2  of  his  image  are  also 
found. 

GENERAL  REMARKS, 

This  Chapter  on  the  Bodhisattavas  cannot  be  closed  without 
a  reference  to  a  very  important  passage  in  the  Nispannayoga- 
vali,  where  the  Bodhisattvas  are  connected  with  their  spiritual  sires, 
whose  forms  they  assume.  In  the  Vajradhatumandala3  it  is  said  that 
the  four  Bodhisattvas  : 

1.  Maitreya     ^^  3.     Sarvapayanjaha 

2.  Amoghadarsi  4»     Sarvasokatamonirghatamati 
have  the  same  form  as  that  of  the  eastern  Dhyani  Buddha  Aksobhya 
of  blue  colour. 

The  four  Bodhisattvas  : 

1.  Gandhahasti    \X"  3.     Gaganaganja 

2.  Surahgama    */  4.    Jnanaketu      ^ 

have  the  same  form  as  that  of  the  southern  Dhyani   Buddha  Ratnasam^ 
bhava  of  yellow  colour. 

The  fouj:  Bodhisattvas  :  • 
1.     Amitaprabha  3.     Bhadrapala 


2.    Chandraprabha     ^  4.    Jalimprabhs 

have  the  same  form  as  that  of  the  western  Dhyani  Buddha  Amitabha  of 
red  colour. 

The  four  Bodhisattvas  : 

1.  Vajragarbha  3.     Pratibhanakuta 

2.  Aksayamati  */  4.     Samantabhadra 

have  the   same  form  as  that  of  the  northern  Dhyani  Buddha  Amogha- 
siddhi  of  green  colour. 

Although  this  is  a  valuable  iconographic  information,  it  should, 
however,  be  noted  that  these  are  not  absolute  laws,  but  the  views  of 
only  certain  psychic  schools  of  Buddhist  Tantra.  Be  it  noted,  however, 
that  the  Central  Dhyani  Buddha  Vairocana  has  no  place  in  this  classi- 
fication and  none  of  the  sixteen  Bodhisattvas  is  affiliated  to  him* 
Nevertheless,  the  information  as  given  in  the  Vajradhatumandala  of 
the  Nispannayogavali  will  be  found  to  be  of  value  in  identifying  some 
of  the  Chinese  statuettes  where  Bodhisattvas  are  given  Dhyani  Buddha 
forms. 

1.  Op.    Cit.    pp.    8,  11,    56,    197,201.    For   further  cletaila  see  Getty :  GNB, 
pp.  50—51. 

2.  Gordon  •  ITL,  p.  64. 

3.  NSP.  p.  46. 


CHAPTER  III 

BODHISATTVA  MANJUSRI 

There  is  no  doubt  that  the  place  assigned  to  Manjusri  in  the 
Buddhist  pantheon  is  one  of  the  very  highest.  The  MahSyanists 
consider  him  to  be  one  of  the  greatest  Bodhisattvas.  They  believe 
that  the  worship  of  Manjusrl  can  confer  upon  them  wisdom,  re- 
tentive memory,  intelligence  and  eloquence,  and  enables  them  to 
master  many  sacred  scriptures.  It  is  no  wonder,  therefore,  that 
his  worship  became  widely  prevalent  amongst  the  Buddhists  of  the 
North.  They  conceived  him  in  various  forms  and  worshipped 
him  with  various  mantras.  Those  who  could  not  form  any  con^ 
ception  of  him  according  to  Tan  trie  rites,  attained  perfection  only 
by  muttering  his  numerous  mantras. 

It  is  difficult  to  fix  the  exact  time  when  Manjusrl  entered  the 
pantheon  of  the  Northern  Buddhists.  His  images  are  not  found 
in  the  Gandhara  and  Mathura  schools  of  sculpture,  and  Asvaghosa, 
Nagarjuna,  Aryadeva  do  not  mention  him  in  their  works.  His 
name  occurs  for  the  first  time  in  the  Aryamanjusrimulakolpa 
which  is  obviously  a  pre'Guhyasamaja  work,  and  then  in  the 
Guhyasamaja  Tantra  which  is  dated  circa  300  A.D.  In  this  work 
there  are  at  least  four1  references  to  Manjusrl  and  three-  to  Man- 
juvajra.  His  name  also  occurs  in  the  Sukhavati  Vyuha  or  the 
Amitayus  Sutra  in  its  smaller  recension8  which  was  translated  into 
Chinese  between  A.D.  384  and  417.  Subsequent  Buddhist  works 
however  give  many  references  to  Manjusrl,  and  in  the  accounts  of 
foreign  travellers  like  Fa-hien1,  Hiuen-Thsang,  I*Tsing,  Manjusri  also 
finds  mention.  His  images  are  to  be  found  in  the  sculptures  of  Sarnath, 
Magadha,  Bengal,  Nepal  and  other  places. 

Many  details  about  Manjusri  are  to  be  found  in  the  Svayambhu 
Parana,  dealing  with  the  glories  of  the  Svayambhuksetra  in  Nepal. 
The  Adibuddha  manifested  himself  here  in  the  shape  of  a  flame  of 
fire,  and  so  it  is  called  the  Svayambhuksettra  (  place  of  the  Self- Born  ). 
This  place  is  consecrated  with  a  temple  of  Adibuddha,  and  close  to  it 
is  the  Manjusri  Hill  now  known  as  the  Sarasvatisthana.  The  information 
about  Manjusrl  as  gleaned  from  the  Svayambhu  Purana  is  given  below 
in  brief. 

1.    Guhyasamaja  Tantra,  G.  O.  S.  pp.  46,  69,  93,  133. 

2»    Ibid,  pp.  51,  87,  121.  3.     Sukhavatlvyuha,  p.  92.  App.  II. 

4.    There  is  a   considerable   difference  of  opinion  with  regard  to  the   divinity  of 
Manjusrl  mentioned  by  Fa-Hien.  Legge  ;  Travels  of  Fa-Hien,  p^  46 


BODHISATTVA  MA^JUSRf  101 

It  is  said  therein  that  Manjusri  hailed  from  China,  where  he  was 
living  on  mount  Pancasirsa  (the  Hill  of  Five  Peaks).  He  was  a  great 
saint  with  many  disciples  and  followers,  including  Dharmakara,  the 
king  of  the  country.  Receiving  divine  intimation  one  day  that  the 
self-born  Lord  Adibuddha,  has  manifested  himself  as  a  flame  of  fire  on 
a  lotus  on  the  waters  of  Lake  Kalihrada  in  Nepal,  he  forthwith  set  out 
for  that  country  along  with  a  large  number  of  his  disciples,  his  two 
wives  and  king  Dharmakara,  with  the  intention  of  paying  homage  to 
the  deity.  When  he  came  to  the  lake,  however,  he  found  a  great 
expanse  of  water  surrounding  the  god  rendering  him  quite  inaccessible, 
and  it  was  with  immense  difficulty  that  he  could  approach  the  flame  and 
offer  his  obeisance.  Having  at  last  succeeded  in  doing  so,  however, 
he  cast  about  in  his  mind  for  some  means  of  making  the  god  accessible 
to  all  and  he  began  a  circuit  of  the  lake.  When  he  reached  the  south- 
ern barrier  of  hills,  he  lifted  his  sword  and  clove  it  asunder.  The 
hill  was  split  into  two,  and  the  water  rushed  through  that  opening, 
leaving  behind  a  vast  strench  of  dry  land,  which  is  now  known  as  the 
as  the  Nepal  Valley.  The  waters  of  the  Baghmatl  flow  down  even  to 
this  day  through  that  opening,  which  is  still  called  *'Kot-bar"  or 
"sword-cut". 

Manjusri  lost?  no  time  in  erecting  a  temple  over  the  flame  of  fire 
and  on  a  hillpck  nearby  he  made  his  own  abode,  and  also  a  Vihara 
(or  monastery)  still  known  as  the  Manjupattana,  for  his  disciples. 
Lastly,  he  made  Dharmakara  the  King  of  Nepal.  These  and  many 
other  pious  deeds  are  ascribed  to  Manjusri  in  the  Svayambhu  Purana. 
Putting  everything  in  proper  order,  Manjusri  returned  home  and  soon 
attained  the  divine  form  of  a  Bodhisattva,  leaving  his  mundane  body 
behind  >. 

From  above  it  appears  that  Manjusil  was  a  great  man  who  brought 
civilization  to  Nepal  from  China.  He  had  apparently  extraordinary 
engineering  skill,  and  was  a  great  architect.  It  is  not  definitely  known 
when  he  came  down  to  Nepal  from  China,  but  there  is  no  doubt  that 
in  300  A.  D,  he  was  well-known  as  a  Bodhisattva.  He  wielded  great 
influence  on  the  minds  of  the  Buddhists,  and  the  Mahayanists 
worshipped  him  in  various  forms  and  in  various  ways.  He  is  known 
in  almost  all  the  countries  in  the  continent  of  Asia  where  Buddhism 
had  its  sway*  Various  countries  conceived  various  forms  of  Manjusri, 
but  there  was  a  definite  Indian  tradition  with  regard  to  the  conception 

1.  An  account  of  the  story  recorded  in  the  Svayambhu  Purana  with  many  details 
will  be  found  in  R.  Mitra  :  Sanskrit  Buddhist  Literature,  pp.  249—258  ;  in  Hodgson's 
Essays,  p.  115  ft.  and  in  Oldfield  :  Sketches  from  Nipal,  Vol.  II,  p.  185  ff. 


102  BUDDHIST  ICONOGRAPHY 

of  Manjusn  and  it  is  the  purpose  of  this  section  to  deal  with  the  images 
that  are  purely  Indian  or  are  influenced  largely  by  the  Indian  tradition. 

It  has  been  made  abundantly  clear  that  the  Buddhists  believe  that 
their  gods  and  goddesses  affiliate  themselves  to  the  families  of  the  five 
Dhyani  Buddhas,  and  as  such,  various  attempts  were  made  to  assign 
ManjusrI  to  a  particular  Dhyani  Buddha.  Sometimes  in  the  Sadhanas 
he  is  made  an  offspring  of  Amitabha  of  red  colour,  and  sometimes 
of  Aksobhya  with  the  blue  colour.  Manjusri  also  shows  several 
colours  showing  his  allegiance  to  several  Kulas  or  families*  The  human 
origin  of  Manjusri  seems  to  be  responsible  for  this  kind  of  confusion. 
ManjusrI  seems  to  have  been  deified  in  the  same  manner  as  Asvaghosa, 
Nagarjuna,  Aryadeva,  Asanga  and  many  others  were  regarded  as 
Bodhisattvas  in  the  time  of  Hiuen  Thsang. 

Forty-one  Sadhanas  in  the  SadhanamSla  are  devoted  to  the  worship 
of  Majnusn,  and  in  them  are  described  several  distinct  forms  of  the 
Bodhisattva.  In  finding  out  the  names  of  the  different  varieties  of 
Manjusri  special  stress  has  been  laid  on  the  mantras  rather  than  on 
the  colophons  of  the  Sadhanas.  It  should  always  be  noted  that  in 
determining  the  names  of  gods  the  mantras  are  the  safest  guides, 
especially  when  one  deity  has  several  divergent  forms.  The  different 
forms  of  Manjusri  are  described  in  the  following  pages  one  by  one 
having  distinct  iconographic  peculiarities. 

In  his  simplest  form  Manjusri  carries  the  sword  in  his  right  hand 
and  the  Prajn5paramita  manuscript  in  his  left*  In  representations 
sometimes  the  two  symbols  are  placed  on  lotuses.  Sometimes  he 
is  accompanied  only  by  Yamari,  sometimes  only  by  his  Sakti  or 
female  counterpart,  sometimes  by  Sudhanakumara  and  Yamari  and 
sometimes  again  by  the  four  divinities,  Jalimprabha  (also  called  Suryya- 
prabha),  Candraprabha,  Kesini  and  Upakesini.  Though  the  last  four 
are  required  to  be  present  with  Arapacana,  they  are  nevertheless  found 
in  others  also. 

Under  the  general  name  of  Manjusri  several  of  his  Chinese  images 
are  noticed  by  Clark  in  his  Two  Lamaistic  Pantheons1.  A  remarkable 
specimen  showing  Manjusri  in  the  company  of  two  principal  Hindu 
gods,  Ganapati  and  Visnu  is  found  in  the  Baroda  Museum  (Fig.  74). 

1.    VAJRARAGA 

Colour— White  Mudra— Samadhi 

Asana — Vajraparyahka 

Vajraraga  Manjusri  is  also  known  by  the  two  names  of  Vak  and 
Amitabha  Manjusri  showing  his  allegiance  to  the  Dhyani  Buddha 
Amitabha  of  red  colour.  Vajraraga  is  one-faced  and  two-armed.  His 

1.    Clark  :  TLP,  II,  pp.7,  11,  53,  198.  — 


BODHISATTVA  MANJUSRI  103 

two  hands  are  joined  on  his  lap  forming  what  is  called  the  Samadhi  or 
the  Dhyana  mudra.  In  this  respect  he  is  identical  with  the  Dhyani 
Buddha  Amitabha  whose  effigy  he  bears  on  his  tongue.  He  differs 
from  the  Dhyani  Buddha  in  respect  of  his  ornaments  and  dress.  Images 
of  this  form  of  Manjusri  are  not  altogether  rare  in  India  or  in  the 
Buddhist  countries  of  the  North.  The  Sadhanamala  describes  his  form 
in  the  following  Dhyana  : — 

Dvibhujaikamukharh  sitarh  vajraparyankopari  samadhimudrahastarh 
asesakumarabharanabhusitarh  pancaclrakarh  Manjusrlbhattarakarh... 
nispadya  .  vajrajihvopari  Buddharh  Amitabharh  vicintya..  Orh  Vakye- 
darh  namah  iti  japamantrah".  Sadhanamala,  p.  129 

'The  worshipper  should  think  himself  as  Manjusri  Bhattaraka  who 
is  two-armed  and  one^faced  and  has  white  colour.  His  two  hands  are 
joined  in  forming  the  Samadhi  mudra.  He  is  decked  in  all  princely 
ornaments,  wears  the  five  pieces  of  monkish  garments... thus  meditating 
...he  should  think  of  the  figure  of  Buddha  Amitabha  onvthe  adamantine 
tongue.. /Orh  Vakyedarh  namah'  is  the  Mantra  for  muttering". 

Fig.  75  illustrates  a  metal  statuette  of  the  god  in  the  Baroda  Museum. 
Fig.  76  illustrates  a  Nepalese  drawing.  Vajraraga  is  known  in  Tibet1 
and  China  2. 

2.    DHARMADHATU  VAOI^VARA 
Colour — Reddish  White  Face — Four 

Asana — Lalita  Arms — Eight 

Stone  or  bronze  images  of  Dharmadhatu  Vagisvara  are  by  no  means 
common,  but  paintings  are  still  made  of  him  by  the  Citrakaras  in  Nepal. 
When  represented  he  is  white  in  colour  with  four  faces,  and  eight  arms, 
and  he  bears  five  jewels  on  his  diadem.  He  is  clad  in  celestial  garments 
and  the  leading  sentiment  displayed  by  him  is  one  of  Srhgara  (amour). 
The  two  principal  hands  carry  the  bow  and  the  arrow,  the  second  pair 
has  the  noose  and  the  goad,  the  third  the  book  and  the  sword,  and  the 
fourth  the  Ghanta  and  the  Vajra.  He  may  also  have  another  form, 
exhibiting  the  Dharmacakra  mudra  in  the  first  pair  of  hands  instead 
of  the  bow  and  the  arrow,  and  in  the  second  pair  the  arrow  and  the 
vessel  instead  of  the  noose  and  the  goad.  The  Dhyana  describing  the 
former  is  given  below  : — 

"...Astabhujarh  caturmukharh  mulamukharh  raktagaurarh  daksinarh 
kumkumarunarh  pascimarh  padmaraktarh,  uttararh  pltaraktarh,  dvabhy- 
am  hastabhyarh  dhanurbanandhararh,  aparabhyarh  pasankusadhararh, 

1.    Gordon :  ITL,  p.  66  illustrates  his  statue  under  the  general  title  of  Manjusri. 
I.    Clark  i  TLP,  II,  pp.  120,  227. 


104  BUDDHIST  ICONOGRAPHY 

punaraparabhyamPrajnaparamitapustakakhadgadharam,tathaparabhyam 
ghantavajradharam  maHaragasrngararasojjvalam  lalitasanastham  visva- 
padmacandre  divyavastrabharanam  Amitabhajatamukutinam... 

Sadhanamala,  p.  128. 

"The  worshipper  should  think  himself  as  the  god  Dharmadhatu- 
Vagisvara  who  is  eight-armed,  four-faced  and  of  reddish-white  colour. 
His  right  face  is  red,  the  face  behind  is  of  lotus-red  colour,  and  the  left 
is  of  yellowish-red  colour.  He  holds  the  bow  and  the  arrow  in  one 
pair  of  hands,  the  noose  and  the  goad  in  another  pair,  the  Prajnapara- 
mita  manuscript  and  the  sword  in  the  third  and  the  Ghanta  and  the 
Vajra  in  the  fourth.  He  displays  the  sentiment  of  Srngara  (amour),  and 
sits  on  the  moon  on  a  double  lotus  in  the  Lalita  attitude.  He  is 
decked  in  celestial  garments  and  ornaments  and  bears  on  his  Jatamukuta 
(crown  of  matted  hair)  the  effigy  of  Amitabha", 

(ii) 

Colour— Golden  Yellow  Faces — Four 

Arms— Eight 

Manjughosa  is  the  principal  deity  in  the  Dharamadhatuvagisvara 
Mandala  of  the  Nispannayogavall.  His  form  may  be  given  briefly  as 
follows  : 

"Manjughoso   Vajraparyanki. . .suvarnavarnah pita-nlla-rakta-sita- 

mula-savyapascimavamamukho  astabhujo  dvabhyam  Dharmacakra- 
mudrah  savyaih  krpana-bana-vajrani  vamaih  prajnaparamitapustaka- 
capavajra-ghanta  vibhranah".  NSP.  p.  54. 

"Manjughosa   sits   in   the   Vajraparyanka   attitude is   of  golden 

colour His  four  faces   show  the  yellow  colour  in  the  first,  blue  in 

the  right,  red  behind,  and  white  left.  He  is  eight-armed.  With  the 
two  pricipal  hands  foe  exhibits  the  Dharmacakra  Mudra.  The  remaining 
right  hands  show  the  sword,  the  arrow  and  the  Vajra,  while  the  re- 
maining left  carry  the  Prajnaparamita  manuscript  the  bow  and 
the  bell". 

Three  of  his  images  are  known  to  the  Chinese  collection  of  Peiping.1 
He  is  also  found  in  Tibet  2 

3.    MANJUGHOSA. 

Colour — Golden  Yellow.  Mudra — Vyakhyana 

Vahana — Lion  Symbol — Lotus  in  the  left. 

Four  Sadhanas  in  the  Sadhanamala  describe  this  variety  of 
Manjusri,  which  is  known  by  the  name  of  Manjughosa.  When  repre- 
sented, he  closely  resembles  Manjuvara,  with  the  difference  that  the 

~~1.    TLP,  II  p.  115,  124,  241,  262. 

2.    Getty  :  GNB,  PL.  XXXV,  6  is  a  good  illustration  of  this  form* 


105 


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BODHISATTVA  MAN^USRI  113 

lotus  here  does  not  bear  the  book.  It  may  also  be  pointed  out  that 
Manjughosa  should  have  the  lotus  only  in  his  left,  but  Manjuvara  may 
have  it  on  either  side  bearing  the  book.  His  complexion  is  golden 
yellow,  he  rides  a  lion,  and  is  decked  in  all  sorts  of  ornaments.  He  is 
two-armed  and  displays  the  Vyakhyana  mudra,  and  in  his  left  there  is 
the  lotus.  He  is  sometimes  accompanied  by  Yamari  in  the  left  and 
Sudhanakumara  in  the  right.  The  Dhyana  as  found  in  one  of  the 
Sadhanas  is  given  below  : — 

"Manjughosarupam-atmanam  pasyet  simhastham  kanakagauravarnarh 
sarvalankarabhusitam  Vyakhyanamudravyagrakararh  vamaparsve  utpala* 
dharam  Aksobhyamukutinam.  Daksme  Sudhanakumararh  vame  Yaman. 
takam  pasyet...  man  tram  japet  Om  Vagjsvara  Muh'*  Sadhanamala  p.  109 

The  worshipper  should  meditate  himself  as  the  deity  Manjughosa 
who  rides  a  lion,  and  is  of  golden  yellow  colour.  He  is  decked  in  all 
ornaments,  and  his  hands  are  engaged  in  forming  the  Vyakhyana 
(teaching)  mudra.  He  displays  the  night  lotus  in  his  left,  and  bears 
the  image  of  Aksobhya  on  his  crown.  On  his  right  there  is  Sudhana^ 
kumara  and  on  the  left  Yamantaka  ...  The  Mantra  Om  Vaglsvara  Muh 
should  be  muttered*'. 

Some  of  the  Sadhanas  mention  that  he  should  sit  in  Lalitasana 
on  the  back  of  a  lion  while  others  are  silent  about  the  attitude  or 
Asana.  It  is  thus  possible  to  conclude  that  he  may  sit  in  other  attitudes 
also,  such  as  the  Vajraparyahka  or  the  Ardhaparyahka.  His  colour  is 
generally  yellow,  but  he  may  have  the  colour  of  Kunkuma  as  well. 

4.    SIDDHAIKAVfRA.   ^ 
Colour — White  Mudra — Varada 

Symbol — Lotus. 

Four  Sadhanas  in  the  Sadhanamala  describe  the  form  of  Siddhaika* 
vira  and  in  one  of  these  he  is  said  to  bear  the  image  of  the  Dhyani 
Buddha  Aksobhya  on  his  crown  (Mauli)  thus  showing  the  family 
connection  with  Aksobhya  the  progenitor  of  the  Vajra  family.  When 
represented,  his  left  hand  holds  the  blue  lotus  while  the  right  displays 
the  Varada  mudra.  The  Dhyana  in  the  Sadhanamala  describes  his 
form  in  the  following  words  : 

"  Siddhaika  viro  Bhagavan  candramandalasthah  candropasrayah 
jagadudyotakan  dvibhuja  ekamukhah  suklah  vajraparyahki  divyalan- 
karabhusitah  pancavlrakasekharah..  vame  nilotpaladharah  daksine 
varadah.-.tato  Bhagavato  maulau  Aksobhyam  devatyah  pujarh  kurvanti". 

Sadhanamala,  p.  140. 

"God  Siddhaikavira  sits  on  the  orb  of  the  moon,  is  supported  by 
the  moon,  and  illumines  the  world.  He  is  two-armed,  one^faced  and 

15 


114  BUDDHIST  ICONOGRAPHY 

of  white  colour.  He  sits  in  the  Vajraparyahka  attitude,  and  is  decked 
in  celestial  ornaments.  His  head  is  decorated  with  the  effigies  of  the 
five  Dhyani  Buddhas....He  carries  the  Utpala  in  the  left  hand  and 
exhibits  the  Varada  mudra  in  the  right.  The  goddesses  pay  homage 
to  Aksobhya  who  is  on  the  crown  of  the  God", 

In  another  Sadhana  the  description  of  the  Mandala  for  Manjusri 
is  given.  The  god  in  the  form  of  Siddhaikavlra  is  painted  red  and  is 
placed  in  the  centre.  He  is  accompanied  by  four  deities,  Jalimprabha, 
Candraprabha,  Kasinl  and  Upaksinl.  These  four  deities  more  often 
accompany  Arapacana,  another  from  of  Manjusri  which  will  be 
described  later,  The  Sadhanas  are  not  generally  explicit  as  to  the 
Asana  of  the  god.  In  Saranath  his  image  is  shown  in  a  standing 
attitude  (Fig,  77). 

A  confusion  is  likely  to  arise  between  the  forms  of  Loknanatha 
and  Siddhaikavlra  if  they  are  both  represented  without  companions 
and  without  the  figure  of  the  parental  Dhyani  Buddha  on  their  crown, 
for  both  these  deities  have  the  same  symbol,  the  lotus  and  the  same 
mudra,  the  Varada  pose.  In  that  case  the  image  would  most  likely  be 
identified  as  that  of  Lokanatha,  who  happens  to  be  widely  represented. 
Images  of  Siddhaikavlra,  it  may  be  added,  are  extremely  rare. 

5.    VAJRANANGA. 

Colour — Yellow 
Asana — Pratyalidha.  Hands — Six  or  Four. 

This  form  of  Manjusri  bearing  the  image  of  Aksobhya  on  the  crown 
is  known  as  Vajrananga,  who  is  worshipped  in  the  Tantric  rite  of 
Vasikarana,  or  bewitching  men  and  women.  His  complexion  is  yellow, 
he  is  in  the  prime  of  youth,  and  bears  the  image  of  Aksobhya  on 
his  crown.  The  two  principal  hands  hold  the  fully  expanded  bow  of 
flowers  charged  with  the  arrow  of  a  lotus  bud.  The  four  remaining 
hands  carry  the  sword  and  the  looking-glass  in  the  two  right  hands, 
while  the  two  left  carry  the  lotus  and  the  Asoka  bough  with  red  flowers. 
In  another  Sadhana  the  Asoka  bough  is  replaced  by  Kankelli  flowers. 
He  may  have  an  alternative  form  with  four  hands,  in  which  case  the 
hands  carrying  the  mirror  and  the  Asoka  bough  are  dropped.  The 
Dhyana  describing  the  six-armed  variety  of  Vajrananga  is  given  below: 

Vajranahganama  Arya-Manjughosam  pltavarnam  sadbhujam  mula* 
bhujabhyam  akarnapuritaraktotpalakalikasarayukta-kusumadhanurdha- 
ram;  daksinadvayena  khadgadarpanabhrtarh  vamayugalenendlvararakta- 
sokapallavadharam;  Aksobhyadhisthita-jatamukutinarh  pratyalldha- 
padam  sodasavarsakaram  mahasrhgaramurtim  pasyet". 

Sadhanam§la,  p.  124 


BCDHISATTVA  MANJUSRf  115 

"The  worshipper  should  think  himself  as  Arya-Mafijughosa  in  the 
form  of  Vajrananga  with  yellow  complexion,  and  six  arms.  With  the  two 
principal  hands  he  draws  to  the  ear  the  bow  of  flowers  charged  with 
an  arrow  of  a  red  lotus  bud;  the  two  remaining  right  hands  carry  the 
sword  and  the  mirror,  while  the  two  left  hold  the  lotus  and  the  Asoka 
bough  with  red  flowers.  He  bears  the  image  of  Aksobhya  on  his 
Jatamukuta,  stands  in  the  Prat^alidha  attitude,  appears  a  youth  of 
sixteen  years  and  displays  the  intense  Srngara  Rasa  " 

Vajrananga  as  the  name  implies,  is  the  Buddhist  God  of  Love, — the 
prototype  of  the  Hindu  God  Madana — in  the  Buddhist  Pantheon.  The 
flowery  bow  and  the  arrow  of  flowers  are  strikingly  common  to  both. 
Unlike  the  Hindu  Anahga,  however,  several  other  weapons  besides  these 
are  also  attributed  to  the  Buddhist  God  of  Love,  and  an  account  is 
given  below  of  how  he  makes  use  of  them. 

It  is  said  in  the  Sadhanamala  that  in  the  act  of  bewitching  a  woman, 
the  worshipper  should  imagine  himself  as  piercing  her  bosom  with  the 
arrow  of  the  lotus  bud.  The  woman  falU  flat  on  the  ground  in  a 
swoon,  whereupon  the  worshipper  should  visualise  her  legs  as  being 
tied  by  the  chain  which  is  the  bow.  Then  he  should  imagine  that 
the  noose  of  the  lotus  stalk  is  flung  round  her  neck,  and  she  is  drawn 
to  his  side.  Thereupon,  he  should  think  that  he  is  striking  her  with 
the  Asoka  bough,  is  frightening  her  with  the  sword,  and  subsequently 
he  has  only  to  confront  her  with  the  mirror  by  which  she  LS  completely 
subjugated  ].  Fig.  78  illustrates  a  Nepalese  drawings  of  the  deity. 

6.     NAMASANGm  MANJUSRF 

Colour — Reddish  white  Asana — Vajraparyaiika 

Faces — Three  Arms — Four 

This  form  of  Manjusrl  with  the  effigy  of  the  Dhyani  Buddha 
Aksobhya  on  the  crown  is  known  as  Namasahglti  Manjusrl,  to  whom 
only  one  Sadhana  in  the  Sadhanamala  is  assigned  In  this  Sadhana 
he  is  described  as  three-faced  and  four-armed,  and  as  bearing 
the  image  of  Aksobhya  on  the  crown.  The  first  or  the  principal 
face  is  red,  the  second  blue  and  the  third  white.  Of  his  four  hands, 
the  first  pair  holds  the  bow  and  the  arrow  and  the  second  the 
book  and  the  sword.  He  sits  in  the  Vajraparyanka  attitude  on 
the  lotus.  The  Dhyana  describes  him  in  the  following  terms  : 

"...Raktagauram  padmacandropari  vajrapar>afikanisannah  ;  pratha* 
mamukham  raktaih,  daksinam  nifam,  vame  suklam  iti  trimukham, 
hastacatustayena  yathayogam  Prajnakhadgadhanurbanayoginam  ratna- 

1      Sadhanamala,  p.  123 


116  BUDDHIST  ICONOGRAPHY 

kiritinamdvatrimsallaksananuvyanjanavirajitarh  kumarabharanabhusitarh 
atmanam  vibhavya  tadanu  sarva-Tathagatabhisekapurvakarh  Akso- 
bhyamaulinarh  atmanam  vicintya  .  ...  Sadhanamala  p.  159*160 

"The  worshipper  should  meditate  himself  as  Aryanamasangiti, 
who  is  reddish  white  in  colour  and  sits  in  the  Vajraparyahka  attitude 
on  the  orb  of  the  moon  on  a  lotus.  His  principal  face  is  red,  the 
right  blue  and  the  left  white  and  thus  he  is  three-faced  In  his 
four  hands  he  carries  the  Prajna(paramita),  the  sword,  the  bow 
and  the  arrow  according  to  custom.  He  wears  a  bejewelled  crown 
and  is  endowed  with  the  thirty-two  major  and  eighty  minor  auspicious 

marks.  He  appears  a  prince  with  princely  ornaments Then  the 

worshipper  after  offering  Abhiseka  to  all  the  Tathagatas,  should  further 
meditate  himself  as  bearing  the  effigy  of  Aksobhya  on  the  crown.'1 

Rare  are  the  images  of  this  form  of  Manjusri  Fig.  79  illustrates 
a  Nepalese  drawing  of  the  deity. 

Namasangiti  Manjusn  is  known  in  China1.  Fig.  80  illustrates 
his  statuette  in  China. 

7.     VAGlSVARA 

Colour — Red  of  Yellow  Asana — Ardhaparyanka 

Vahana — Lion  Symbol— Utpa  la 

Vaglsvara  is  the  tutelary  deity  of  the  Nepalese  Buddhists  and  is 
widely  worshipped  in  Nepal.  The  fact  that  innumerable  prayer- 
wheels  in  Nepalese  temples  bear,  in  monumental  Newari  characters, 
the  mantra  "Om  Vaglsvara  Muh"  stands  witness  to  his  popularity. 

One  of  the  Sadhanas  describes  him  as  red  in  colour  with  all 
princely  ornaments,  and  as  seated  on  a  lion  in  the  Ardhaparyanka 
attitude.  He  carries  the  Utpala  in  his  left  hand,  and  the  right  is 
disposed  in  a  graceful  attitude.  He  may  have  a  yellow  variety, 
which  is  known  as  the  Maharajalila  ManjusrI,  and  the  Dhyana 
describing  that  form  has  already  been  quoted  and  translated  by 
Professor  Foucher.  The  red  variety  of  Vaglsvara  is  described  in  the 
Dhyana  thus  : 

"Pancavirakasekharam  kumaram  sarvabharanabhusitarh  kuhkuma- 
runarh  vamenotpalam  daksinena  Hlaya  sthitarh  sirhhasajiastharh  atma* 
nam  kumararupena  cintayet...Om  Vaglsvara  Muh". 

Sadhanamala,  p.  105 

'The  worshipper  should  think  himself  as  Vaglsvara  whose  head 
is  beautified  by  the  images  of  the  five  Dhyani  Buddhas.  He  looks 
a  prince,  is  decked  in  all  ornaments,  and  has  the  complexion  of 
Kunkuma.  He  carries  the  night  lotus  in  his  left  hand  while  the 

1.    Clark  :    TLP,  II,  p.  263. 


BODHISATTVA    MANJUSRT  H7 

right  is  displayed  artistically.     He  rides  a  lion  and   possesses  princely 

grace Orh  Vaglsvara  Muh. 

The  Indian  Museum  image  (Fig.  81)  of  this  divinity  carries  a  bell 
in  the  right  hand,  and  sits  on  a  lion  throne  instead  of  a  lion.  The 
other  image  in  bronze  (Fig.  82)  is  a  recent  one,  and  represents  the 
god  somewhat  differently.  Vaglsvara  statuettes  are  found  in  Tibet1 . 

8.    MANJUVARA 

Colour-    Golden  Yellow  Mudra — Dharmacakra 

Asana— Lalita  or  Ardhaparyanka     Symbol— Prajnaparamita  on  lotus 

Two  Sadhanas  in  the  Sadhanamala  are  devoted  to  the  worship 
of  Manjuvara  who  is  widely  represented.  He  is  yellow  in  colour, 
sits  on  the  back  of  a  lion,  in  the  Lalita  or  the  Ardhaparyanka  attitude, 
and  displays  the  sentiment  of  Srngara  (amour)  lavishly.  His  two 
hands  are  joined  against  the  chest  in  forming  the  Dharmacakra 
mudra  which  is  the  eternal  symbol  of  instruction  on  the  secrets  of 
Dharma.  He  holds  the  stalk  of  one  or  two  lotuses  on  which  appears 
the  Prajnaparamita  manuscript.  The  text  of  the  Dhyana  in  one  of 
the  Sadhanas  is  givea  below  : 

"Taptakancanabham  pancavirakakumararh  Dharmacakramudra- 
samyuktarh  Prajnaparamitanvitotpaladharinarh  simhastharh  lalitakseparh 
sarvalankarabhusitarh...Orh  Manjuvara  Hum".  Sadhanamala,  p.  111. 

"The  worshipper  should  think   himself  as  god  Manjuvara  of  golden 
yellow    colour    with    head    decorated    with    the    images    of  the   five 
Dhyani   Buddhas.    His  hands  display  the  Dharmacakra    mudra  and 
he  shows  the  blue  lotus  bearing  the  Prajnaparamita  manuscript.    He 
rides  a   lion,   sits   thereon  in   the   Lalita   attitude  and  is   decked  in  all 
ornaments... Orh  Manjuvara  Hum". 

According  to  a  second  Sadhana  Manjuvara  should  have  the  lotus 
in  his  left  hand  with  the  Prajnaparamita  on  it.  He  may  sit  in  the 
Ardhaparyanka  attitude  and  may  be  accompanied  with  the  fierce 
god  Yamantaka  of  blue  colour,  whose  face  distorted  with  bare  fangs 
is  terrible  to  behold.  Yamantaka  carries  the  staff  in  one  of  his  hands 
and  touches  the  feet  of  Manjuvara  with  the  other. 

The  image  (Fig.  83)  discovered  at  Bara  in  the  district  of  Birbhum  in 
Bengal  2  probably  represents  this  form  of  Manjusn,  with  the  miniature 
figures  of  the  five  Dhyani  Buddhas  over  the  head,  and  of  the  two 

1.  Gordon  ;  ITL,  p.  68  under  the  title  of  Maharajalila  ManjusVl. 

2,  This  image    was  first  identified  as  that  of  the  Hindu  goddess,   Bhuvanelvari 
in  the  Birbhum  Bibarana  ( in  Bengali ),  then  as  that  of  Simhanada  Lokelvara  in  A.  S.  I. 
Eastern  Circle,  Annual  Report.   1920—21,  p.  27   and  later  on  as  that  of  MaKjuIrl  in 
Ibid,  Plate  1,  Fig.  2 


118  BUDDHIST  ICONOGRAPHY 

divinities  to  the  right  and  left  of  him.  The  figure  to  the  right  probably 
represents  Sudhanakumara  and  the  figure  to  the  left  is  Yamantaka.  The 
principal  god  here  displays  the  Dharrnacakra  mudra  and  from  under  his 
left  armpit  rises  a  lotus  which  bears  the  Prajnaparamita  manuscript  as 
required  by  the  Sadhana.  The  lotus  to  the  right  is  added  in  order  to 
maintain  the  balance  with  the  lotus  to  the  -left. 

The  lion  vehicle  of  Manjuvara  is  sometimes  absent,  and  in  later 
images  he  may  be  found  sitting  in  the  Paryahka  or  any  other  attitude 
(Fig.  84).  The  lotus  to  the  right  which  is  not  expressly  required  by 
the  Sadhana  sometimes  bears  the  book  (Fig.  85),  and  sometimes  the 
sword  in  order  to  preserve  the  balance  in  a  better  way  (Fig.  86). 
One  of  the  two  Indian  Museum  images  of  Manjuvara  has  on  either  side 
of  the  god  two  feminine  figures  which  no  doubt  represent  the  two 
wives  of  Manjusri,  Kesini  and  UpakesinL  Manjuvara  is  well  known 
in  Tibet  ] 

9.     MANJUVAJRA 

(  i  ) 

Colour — Red  Faces — Three 

Arms — Six  Variety — Yab-yum 

The  form  of  Manjusri  called  bv  the  name  of  Manjuvajra  is  some- 
what popular  amongst  the  Tanrric  Buddhists.  Several  of  his  forms  are 
described  both  in  the  Sadhanamala  and  the  Nispannayogavali  of 
Abhayakara  Gupta.  In  the  Sadhanamala  the  colour  of  his  body 
including  the  principal  face  is  red  like  Kunkuma,  the  right  face  is  blue 
and  the  left  white.  He  has  six  arms  of  which  the  principal  pair  is 
engaged  in  embracing  his  female  counterpart.  The  remaining  four 
hands  carry  the  sword,  the  arrow,  the  bow  and  the  night  lotus.  He  sits 
in  Vajrasana  or  in  the  Vajraparyahka  attitude  on  the  orb  of  the 
moon  supported  by  a  lotus.  The  Dhyar.a  is  in  verse  and  may  be  quoted 
as  follows  : — 

Kuhkumarunasanmurtir-nilasitatrayananah     I 
Bhujadvayasamaslista"svabhavidyadharasyadhrk    II 
Khadgabanabhujancapa^mlotpalaparigrahah    I 
Visvadalabjacandrasthah  vajrasanasasiprabhah    II 

Sadhanamala,  p.  163. 

"...His  handsome  body  is  red  like  Kunkuma  and  he  is  endowed  with 
three  faces  of  (Kunkuma)  blue  and  white  colour.  He  embraces  his 
Svabha  Prajna  with  two  arms,  of  which  one  touches  her  face.  He 
carries  the  Khadga,  the  arrow,  the  bow,  and  the  blue  Utpala,  sits  on  the 
moon  on  a  double  lotus  in  Vajrasana,  and  is  radiant  like  the  moon." 

1.  Gordon  :  ITL,  p.  68  under  the  title  of  Dharmacakra  Manjusri,  Getty  :  GNB, 
pi.  XXXV. 


BODHISATTVA  MANJUSRl  119 

Manjuvajra  is  represented  in  Tibet  } 

(ii) 
Colour — Golden  Yellow.  Faces — Three 

Arms — Six. 

Manjuvajra  is  the  principal  deity  of  the  Manjuvajra  Mandala 
in  the  Nispannayogavali.  His  form  has  been  described  thus  : 

"Shhhopari  sattvaparyankanisanno  Bhagavan  Vairocanasvabhavo 
Manjuvajrah  kamanlyakanakakantih...  pita-mla-sukla'Savyetaravaktrah 
sadbhujo  daksinaih  khadgavaradabanan  vamaih  Prajnaparamitapustaka- 
nllabjadhanumsi  vibhranah.''  NSP,  p.  48. 

"God  Manjuvajra  is  seated  on  the  back  of  a  lion,  is  of  beautiful 
golden  colour  and  resembles  Vairocana,  His  three  faces  have  yellow 
blue  and  white  colour.  He  is  six-armed.  In  the  three  right  hands 
he  holds  the  sword,  the  Varada  mudra  and  the  arrow.  In  the  three  left 
likewise  he  carries  the  Prajnaparamita  manuscript,  the  blue  lotus  and 
the  bow." 

(iii) 

Colour — Red  Arms — Six 

Manjuvajra  is  the  principal  deity  in  a  second  Mandala  dedicated  to 
Manjuvajra  in  the  Nispannayogavali.  Here  he  is  identified  with  the  Sixth 
Dhyani  Buddha  Vajrasattva.  The  Kulesa  of  this  god  is  Aksobhya 
according  to  a  definite  statement  in  the  Mandala.  He  is  described  thus  : 
"Bhagavan  Vajrasattvo  Manjuvajra-rupah  kuhkumarunah  krsna- 
sitasavyetaravadanah  pradhanabhujabhyam  svabha'prajnalihgitosisa- 
rendivaracapadharo"...  NSP,  p.  2. 

"The  god  Vajrasattva  in  the  form  of  Manjuvajra  is  red  like  vermi- 
llion.  His  right  face  is  blue  and  the  left  white.  With  the  two  principal 
hands  he  embraces  his  Prajna  ;  in  the  others  he  carries  the  sword,  the 
arrow  the  lotus  and  the  bow." 

Under  the  name  of  Manjusri  his  different  forms  are  to  be  found  in 
the  Chinese  collection  a.  Fig.  8?  illustrates  an  eight-armed  Manjuvajra 
with  the  £akti  in  the  Baroda  Museum.  It  is  both  remarkable  and 
beautiful. 

10.     MANJUKUMARA 
Colour — Red  Vahana — Animal 

Faces — Three  Arms — Six 

Only  one  Sadhana  is  assigned  to  this  form  of  Manjusri  in  the 
Sadhanamala,  which  depicts  him  as  three-faced  and  six-  armed,  riding 

1.  Gordon  :  ITL,  p.  66  with  the  Sakti  under  the  title  of  Manjunatha. 

2.  Clark  :  TLP,  II,  pp.  7,  11,  53,  198,  199. 


120  BUDDHIST  ICONOGRAPHY 

on  an  animal.  In  his  three  left  hands  he  carries  the  Prajnaparamita, 
the  Utpala  and  the  bow  while  the  three  right  show  the  sword,  the 
arrow,  and  the  Varada  pose.  The  extract  is  given  below  : 

^Manjukumararh  trimukharh  sadbhujarh  kunkumarunarh  mlasitada- 
ksinetaravadanarh  sattvaparyankinarh  Khadgabanavaradam  daksinakaia- 
trayarh,  Prajnaparamitapustakanilotpalacapavad-vamakaratrayam  sasrn- 
garakumarabharananivasanadikam  nanapuspamahasobhaciratrayavira- 
jitarh  Tathagataparamanu-parighatitarh  atmanarh  dhyatva..." 

Sadhanamala,     p    151 

"The  worshipper  should  think  himself  as  god  Manjukumara,  who 
is  three-faced  and  six-armed,  of  red  Kuhkuma,  colour.  His  right 
and  left  faces  have  (respectively)  the  blue  and  white  colour.  He  is 
seated  on  an  animaL  His  three  right  hands  hold  the  sword,  the 
arrow  and  the  Varada  pose,  while  the  three  left  carry  the  Prajnapara- 
mita, blue  Utpala  and  the  bow*  He  is  decked  in  princely  ornaments 
and  dress  as  befitting  the  Srfxgara  (amour)  sentiment  hre  displays. 
He  wears  the  three  rags  of  a  mendicant,  which  are  richly  decorated 
with  various  kinds  of  flowers.  His  body  is  composed  of  the  parti- 
cles of  the  Tathagatas Thus  meditating..." 

Manjukumara  is  not  known  either  in  sculptures  or  in  ancient 
paintings.  Fig.  88  illustrates  a  drawing  from  Nepal. 

11.    ARAPACANA 

Colour — White  or  red  Asana — Vajraparyanka 

Companions — Four  Symbols — Book  and  Sword 

Eight  Sadhanas  in  the  Sadhanamala  describe  the  form  of  this 
divinity,  which  is  sometimes  white  and  sometimes  red.  He  sits 
always  in  the  Vajraparyanka  attitude,  but  when  he  sits  on  an  animal 
he  is  called  Prajnacakra.  He  is  accompanied  by  the  four  divinities, 
Kesini,  Upakesini,  Candraprabha  and  Suryaprabha,  and  as  the  group 
of  five  originates  from  the  five  syllables,  'A',  'R',  'P,  'C'  and  'N', 
the  principal  god  is  called  Arapacana.  When  represented,  the  four 
companions  of  Arapacana  resemble  the  principal  god  in  all  respects. 

None  of  the  forms  of  Manjusri  is  so  widely  represented  both 
in  stone  and  in  bronze  as  Arapacana.  He  is  accompanied  by  his 
four  attendants,  but  in  some  instances  the  companions  are  entirely 
absent.  In  one  of  the  sculptures  (  Fig.  89  )  preserved  in  the  Dacca 
Museum1  the  four  Dhyani  Buddhas,  Vairocana,  Ratnasambhava, 
Amitabha  and  Amoghasiddhi  (besides  the  usual  four  companions)*  are 
pictured  on  the  aureole  behind,  the  centre  at  the  top  being  occupied 

1.    Bhattasali :  1BBS,  p.  Z8f,  PI.  VII,  b. 


BODHISATTVA  MA*3)USRf  121 

by  one     of  the    companion    deities    resembling  the  principal  god. 
The    Java  figure  (Fig.  90)  belongs  to  this  class  and  shows  the  four 
companions  as  required  by  the  Sadhana1. 

The  Nepal  bronze  (Fig  91)  does  not  carry  the  book  against  the 
chest,  but  holds  the  stem  of  a  lotus,  which  bears  the  book.  The 
Baroda  bronze  (Fig.  92)  also  does  likewise.  Both  these  are  without 
companions. 

Arapacana  is  also  called  Sadyonubhava-Arapacana,  or  Sadyonu* 
bhava-Manjusrl.  He  is  resplendent  like  the  full  moon,  has  a  smiling 
face,  is  decked  in  all  sorts  of  princely  ornaments,  and  sits  on  a  double 
lotus  in  the  Vajraparyanka  attitude.  He  brandishes  the  sword  in 
his  right  hand,  while  his  left  holds  the  Prajnaparamita  book  against 
his  chest.  Jalimkumara  (or  Suryaprabha)  is  in  front  of  him,  Candra^ 
prabha  behind,  Kesini  to  the  right  and  UpakesinI  to  the  left.  All 
these  four  divinities  are  replicas  of  the  principal  god.  The  Dhyana  in 
one  of  the  Sadhanas  describes  the  principal  god  in  the  following  terms  : 

'  *. .  .Khadgapustakadharinam  akuncitapancaclram,  raktavastrayuga- 
yutam  srngaravesadharinam  smitavikasitavadanam  Sasankakantjtulya- 
sobharh  visvadalakamalasthabaddhaparyahkam  Sadyonubhavarapacan^ 
arupam  atmanam-ikseta".  Sadhanamala,  p.  121. 

'The  worshipper  should  think  himself  as  Sadyonubhava'Arapecana, 
who  carries  the  Khadga  and  the  book,  and  wears  the  five  cirakas(rags) 
which  are  slightly  folded.  His  garments  are  of  red  colour,  which 
befits  the  Srfigara  Rasa  he  displays.  His  face  is  radiant  with  a  smile, 
and  is  resplendent  like  the  moon.  He  sits  on  a  double  lotus  in  the 
Vajraparyanka  attitude..." 

This  Sadhana  further  adds  that  the  principal  god  should  originate 
from  the  first  syllable  "A",  Jalimkumara  from  the  syllable  "R", 
Candraprabha  from  «P",  Kesim  from  "C"  and  UpakesinI  from  "N". 
Manjusri  should  be  in  the  middle,  Jalimkumara  in  front,  Candra^ 
prabha  behind,  Kesini  to  the  right  and  UpakesinI  to  the  left.  All 
of  them  should  have  white  colour  and  should  be  identical  with  the 
principal  god  in  appearance. 

Arapacana  is  popular  in  Tibet  2  and  China  \  In  Tibet  his  sword 
in  the  right  hand  is  replaced  by  the  bell  in  a  remarkable  statuette. 

1.  First  published  and   identified  as  Manjusri   in  Grunwedel  :    Buddhist   Art  in 
India,  p.  199. 

2.  Gordon  :  ITL,  p.  68.     Getty  :  GNB,     pi.    XXXV  illustrates  a   unique  image 
with   the  Ghanta  in    the  right  hand   instead  of  the  sword.    By  the  sound  of  the 
holy  gong  ignorance  seems   to  disappear. 

3.  Clark  :  TLP,   II,  p.  199  illustrates  an  image  of  Arapacana    under  the  title 
ofManjus'ri. 

16 


122  BUDDHIST  ICONOGRAPHY 

12.    STHIRACAKRA. 

Colour— White  Symbol— Sword 

Mudra— Varada  Companion— Sakti 

The  Sadhana  for  the  worship  of  Sthiracakra  has  one  remarkable 
feature  which  distinguishes  it  from  the  other  Sadhanas  in  the 
Sadhanamala,  namely,  that  it  does  not  give  the  Dhyana  at  a 
stretch,  but  the  information  about  his  form  is  scattered  through- 
out the  Sadhana,  which  again,  is  in  verse.  From  the  information 
gleaned  from  the  Sadhana  about  his  form  it  appears  that  in  one  of 
his  hands  he  carries  the  sword,  which  by  radiating  light  destroys  the 
darkness  of  ignorance,  while  the  other  is  engaged  in  bestowing  boons  of 
all  kinds,  or  in  other  words,  displays  the  Varda  pose.  His  colour  is 
white  and  he  is  decked  in  garments  of  the  colour  of  the  bee  ;  he  sits  on 
the  moon,  supported  by  a  lotus,  and  wears  the  Cirakas  which  makes 
his  body  resplendent.  He  wears  princely  ornaments  and  displays  the 
sentiment  of  passionate  love.  He  is  accompanied  by  a  Prajna,  who 
is  beautiful,  displays  the  sentiment  of  passionate  love  and  laughs 
profusely. 

Images  of  this  form  of  Mafijusn  are  rarely  met  with.  The  Vahgiya 
Sahitya  Parisad  (Calcutta)  image  No.  C(d)  8/16  has  a  feint  resemblance 
with  the  description  given  above,  and  may  quite  conceivably  represent 
Sthiracakra.  The  special  feature  of  this  image  is  that  the  sword  appears 
on  a  lotus,  the  stem  of  which  is  held  in  the  left  hand  of  the  god,  while 
the  right  hand  exhibits  the  Varada  pose.  He  sits  in  the  Lalitasana  on 
the  moon  over  a  lotus,  and  is  accompanied  by  his  Sakti  who  according 
to  Indian  custom  occupies  a  position  to  the  left  of  her  consort 
(Fig.  93)  '. 

Sthiracakra  is  represented  in  the  Chinese  Collection  2 . 

13.     VADIRAT 

Asana — Ardhaparyahka  Vahana — Tiger 

Mudra — Vyakhyana 

This  form  of  ManjusrI  is  rarely  to  be  met  with  either  in  stone  or  in 
bronze.  One  Sadhana  only  is  devoted  to  the  worship  of  this  divinity 
which  shows  that  this  form  was  not  very  popular  amongst  the  Vajraya- 
nists.  Vadirat  is  of  medium  height,  neither  very  short  nor  very  tall, 
and  appears  a  youth  of  sixteen  years.  He  sits  on  the  back  of  a  tiger  in 

1.  This  image  is  described  in  the  Hand  book  to  the  Scluptures  in  the  Museum  of  the 
Vangiya  Sahitya  Panshad,  p.  33. 

2.  Clark  :  TLP,  II,  p.  261, 


BODHISATTVA  MANJUSRf  123 

the  Ardhaparyafxka  attitude  with  his  left  leg  slightly  raised.  He  wears 
all  sorts  of  ornaments,  and  exhibits  the  Vyakhyana  mudra.  The 
Dhyana  which  is  in  verse,  describes  the  form  of  Vadirat  in  the  follow* 
ing  terms  : 

Svaccham  sodasavatsarakrtidharam   sarddulaprsthasthitam 
Vyakhyavyakulapanipadmayugalam  vamardhaparyankinam    I 
Dlrgahm   napi  na  capi    kharvamasamam  saundaryarasyasrayam 
Ratnasvarnamaniprakaravividhalankaramalakulam    II 

Sarimad-Vadirat-Sadhanarh  samaptam.  Krtiriyam  Panditasri 

Cintamani*Dattasya  ".  Sadhanamala,  p.  98. 

''The  worshipper  should  think  himself  as  (Vadirat),  who  is  hand- 

some  in  appearance   (lit.   pure  or  transparent),  and  appears  a  youth  of 

sixteen  years.    He  sits  on  the  back  of  a  tiger.  His  lotus-like  hands  are 

eagerly  engaged   in  displaying  the  Vyakhyana  mudra.     His  left  leg  is 

slightly  raised  in  the  Ardhaparyahka  attitude.     He  is  neither  tall,  nor 

very  short,  is  unparalled  by  any,  is  the  receptacle  of  all   beauties  in  the 

world,  and   is  decked  in  various  ornaments  consisting  of  jewels,  gold, 

gems    and     other   valuables. 

Here    ends     the     Sadhana    for    Vadirat    written    by    the    author 
Sri  Cintamani  Datta." 

Vadirat  is  represented  in  the  Chinese  Collection   J . 


1.     Clark  :  TLP,  II,  p.  262. 


CHAPTER  IV 

BODHISATTVA  AVALOKITESVARA 

Avalokitesvara  is  famous  in  the  Mahayana  Pantheon  as  a  Bodhisattva 
emanating  from  the  Dhyani  Buddha,  Amitabha  and  his  £akti,  Pandara. 
As  Amitabha  and  Pandara  are  the  presiding  Dhyani  Buddha  and 
Buddhasakti  of  the  present  Kalpa  (cycle),  namely,  the  Bhadrakalpa, 
Avalokitesvara  is  said  to  be  the  Bodhisattva  who  rules  during  the 
period  between  the  disappearance  of  the  Mortal  Buddha,  Sakyasimha, 
and  the  advent  of  the  Future  Buddha,  Maitreya.  The  Gunakaranda- 
vyuha  3  gives  an  account  of  his  character,  moral  teachings  and  miracles 
and  from  it  is  learnt  that  he  refused  Nirvana,  until  all  created  beings 
should  be  in  possession  of  the  Bodhi  knowledge  and  to  that  end  he 
is  still  supposed  to  work  and  foster  spiritual  knowledge  amongst  his 
fellow  creatures.  One  of  the  passages  in  Karandavyuha  2  characterises 
him  as  taking  the  shape  of  all  gods  of  all  religions,  nay,  even  the  shape 
of  the  father  and  mother,— in  fact,  the  form  of  the  worshipped  of  any 
and  every  worshipper,  to  whom  he  might  impart  knowledge  of  Dharma. 
By  a  slow  and  gradual  process,  first  human  beings  and  then  animals 
and  other  creatures  would  advance  spiritually  to  obtain  salvation.  For 
all  these  reasons  Avalokitesvara  is  characterised  as  the  best  of  the 
Sangha,  the  Jewel  of  the  Buddhist  Church  or  Sahgharatna. 

The  Sadhanamala  gives  altogether  thirty-eight  Sadhanas  which 
describe  a  variety  of  forms  of  Avalokitesvara.  Some  of  these  forms 
have  already  been  described  by  M.  Foucher  in  his  Etude  sur  V  Iconogra- 
phie  Bouddhique  de  Vlnde,  Vol  II  with  translations  in  French  of  the 
Sanskrit  texts  of  the  Sadhanas. 

From  the  Sadhanamala  and  allied  works  it  is  possible  to  individualize 
at  least  fifteen  different  forms  of  Avalokitesvara.  All  these  forms  are 
described  in  the  following  pages  one  by  one.  These  fifteen  by  no  means 
exhaust  the  forms  of  Avalokitesvara  since  there  is  evidence  that  these 
forms  even  numbered  one  hundred  and  eight,  each  of  them  bearing 
distinct  features  and  distinct  names.  In  the  Macchandar  Vahal  one  of 
the  numerous  Viharas  of  Kathmandu  in  Nepal,  there  are  paintings  in 
many  colours  of  one  hundred  and  eight  varieties  of  the  Bodhisattva, 

1.  R.  Mitra  :  Sanskrit  Buddhist  Literature,  p.  95. 

2.  Karandavyuha  :  ed.  Samara  ml,  pp.    21*22. 


BODHISATTVA    AVALOK1TESVARA  125 

executed  on  the  wooden  panel  surrounding  the  main  temple  on  three 
sides.  These  paintings  appear  to  be  at  least  two  hundred  years  old, 
and  they  bear  inscriptions  in  old  Newari  giving  the  names  of  deities 
they  depict. 

Clearly,  from  the  view  point  of  antiquity,  this  discovery  is  of  lesser 
importance  than  the  ones  obtained  from  earlier  Tantric  works,  but 
as  the  overwhelming  number  of  forms  is  likely  to  throw  a  flood  of 
light  on  the  iconography  of  Avalokitesvara,  a  description  of  all  these 
varieties  is  given  with  their  respective  illustrations  in  a  separate  Appen- 
dix at  the  end  of  this  volume. 

Out  of  the  fifteen  different  forms  of  Avalokitesvara  mentioned 
above  fourteen  bear  the  figure  of  Amitabha  on  the  crown,  thus  clearly 
revealing  their  origin.  The  fifteenth,  Vajradharma  by  name,  is  said 
to  bear  the  figures  of  the  five  Dhyani  Buddhas  on  his  crown. 

Images  of  Avalokitesvara  are  found  abundantly  in  India  and 
Nepal.  Out  of  these  the  typical  one*  are  described  in  their  appro- 
priate places.  Such  images  are  popular  both  in  Tibet  ]  as  well  as 
in  China2. 

1.    SADAKSARI-LOKESVARA. 
Colour — White  Arms — Four 

Mudra — Anjali  Symbols — Rosary  and  lotus 

Companions — Manidhara  and  Sadaksarl  Mahavidya 

Four  Sadhanas  in  the  Sadhanamala  are  devoted  to  the  worship 
of  this  form  of  Avalokitesvara,  of  which  two  describe  him  in  a  group 
of  three.  In  a  third  he  is  accompanied  by  Sadaksari  Mahavidya, 
and  in  the  fourth  he  is  single.  In  all  these,  the  form  of  Lokesvara 
is  the  same.  Below  is  quoted  the  Dhyana  of  the  Sadhany  describing 
him  in  a  group  of  three  :- 

"Atmanam  Lokesvararuparh  sarvalahkarabhusitarh  suklavarnam 
vamatah  padmadhararh  daksinato'ksasutradharam  aparabhyam  hasta^ 
bhyarh  hrdi  samputanjalisthitarh  dhyayat.  Daksine  Manidharam  tatta* 
dvarnabhujanvitam  padmantaroparistham.  Vame  tathaiva  aparapadma- 
stharh  Sadaksarlrh  Mahavidyarh".  Sadhanamala,  p.  27. 

''The  worshipper  should  think  himself  as  [Sadaksarl]  Lokesvara 
who  is  decked  in  all  sorts  of  ornaments,  white  in  colour,  and  four* 
armed,  carrying  the  lotus  in  the  left  hand  and  the  rosary  in  the  right. 

L  Gordon  :  ITL,  p,  44  illustrates  a  Tibetan  drawing  of  Lokelvara  with  eleven 
heads  and  eight  arms.  This  form  is  not  described  anywhere  in  Sanskrit.  Getty : 
GNB,  pp.  60-64. 

2.    References  to  statuettes  from  China  are  given  at  their  appropriate  places* 


126  BUDDHIST  ICONOGRAPHY 

The  other  two  hands  are  joined  in  forming  the  mudra  of  clasped 
hand  against  the  chest.  To  his  right  is  Manidhara,  with  the  same 
colour  and  the  same  hands,  sitting  on  another  lotus.  To  the  left  is 
Sadaksari  Mahavidya  with  identical  form  sitting  on  another  lotus". 

The  Dhyana  of  this  god  has  been  extracted  from  the  Karandavyuha 
according  to  a  statement  in  one  of  the  colophons  of  the  Sadhanas, 
The  Mantra  assigned  to  this  form  of  Avalokitesvara  is  the  famous 
"Orh  Manipadme  Hum"  consisting  of  six  syllables  which  are  here 
deified  in  the  form  of  Sadaksari  Mahavidya.  When  Lokesvara  is 
associated  with  the  Great  Knowledge  of  the  Six  Syllables,  he  is  called 
Sadaksari  Lokesvara. 

An  artistic  sculpture  (  Fig.  94  )  depicting  all  the  three  deities  of 
the  Sadaksari  group  is  preserved  in  the  Sarnath  Museum  ].  In 
this  group,  Sadaksari  Lokesvara  is  in  the  middle,  the  figure  to  the 
right  is  Manidhara  and  the  female  figure  to  the  left  is  Sadaksari 
MahSvidya.  It  may  be  noticed  that  under  the  seats  of  lotuses  there 
are  four  diminutive  figures  which  represent  none  else  than  the  four 
guardians  of  the  gates  of  the  Sadaksari  Mandala,  as  prescribed  in 
the  Karandavyuha  2. 

Another  artistic  but  mutilated  image  of  the  Sadaksari  group 
(Fig.  95)  is  now  to  be  found  in  the  Indian  Museum,  Calcutta.  In 
this  piece  both  Manidhara  and  Sadaksari  Mahavidya  are  shown  in 
the  peculiar  attitude  of  sitting  known  as  Virasana. 

A  third  image  (Fig.  96)  found  in  the  district  of  Birbhum  by 
Mr,  K.  N.  Dikshit*  of  the  Archaeological  Department  is  also  of  the 
Sadaksari  group,  although  it  is  mutilated  beyond  recognition.  The 
central  figure  depicting  Sadaksari  Lokesvara  has  lost  two  hands 
bearing  the  rosary  and  the  lotus,  but  the  marks  are  still  there  on 
the  stone.  The  two  hands  exhibiting  the  Anjali  mudra  hold  also 
the  jewel. 

Images  of  Sadaksari  Lokesvara  both  singly  as  well  as  in  groups 
abound  in  Nepal  and  almost  every  monastery  in  Nepal  contains 
one  or  more  images.  A  coloured  image  of  this  divinity  appears  in 
the  temple  of  Bodhnath  a  famous  place  of  pilgrimage  in  Nepal. 

Fig.  97  illustrates  the  principal  deity  as  single  in  a  beautiful  bronze 
now  preserved  in  the  Baroda  Museum. 

When  he  appears  in  a  group  of  two  in  the  company  of  Sadaksari 
Mahavidya,  the  goddess  may  have  another  form  depicting  her  in 
Vlrasana  with  yellow  colour  and  two  hands.  Her  right  hand  remains 

1      Sarnath  Catalogue,  No.  B  (e)  6.  PI  XIV  (b; 

2.  Karandavyuha,  p.  74* 

3.  A.  S.  I*  Eastern  Circle,  Annual  Report,  1920-21,  p,  27  and  illustrated  in  pi.  1(2). 


BODHISATTVA  AVALOKITESVARA  *  127 

empty,  while  the  left  holds  the  jewel.  The  Sarnath  Museum  image 
(Fig*  98)  although  mutilated,  must  represent  this  form  of  Sadaksari 
Mahavidya  who  can  be  readily  recognised  by  the  peculiar  Asana  which 
is  uncommon  in  Buddhist  iconography. 

Another  alternative  is  also  prescribed  in  the  Sadhanumala  for  all 
the  three  deities,  and  the  Sadhana  adds  :  ''Sometimes  in  the  Sadhana 
of  Sadaksan  Mahavidya,  Lokesvara  holds  also  the  lotus  bearing  the 
jewel  and  the  book,  Manidhara  may  hold  the  jewel  and  the  lotus  but 
should  be  without  the  book.  Sadaksan  may  hold  the  book  and  the 
lotus  but  should  not  have  the  jewel.  1 

2.    SIMHANADA. 

Colour— White 

Asana — Maharajalila  Vahana — Lion 

Symbols — (i)Sword  on  lotus,  (n)  Trisula  entwined  by  a  snake 

Four  Sadhanas  also  are  devoted  to  the  worship  of  Sirhhanada, 
who  is  regarded  by  the  Mahayanists  as  the  curer  of  all  diseases.  He 
is  one  of  the  most  popular  forms  of  the  Bodhisattva  Avalokitesvara, 
and  his  images  are  by  no  means  rare  in  India,  At  Patan  in  Nepal,  all 
the  more  important  monasteries  have  two  images  of  Simhanada, 
either  in  stone  or  in  bronze,  on  either  side  of  the  staircase  leading 
to  the  sanctum.  He  appears  in  many  forms  only  slightlv  different 
from  one  another.  The  four  Sadhanas  alike  describe  him  as  follows  : 

"Atmanarh  Simhanada-Lokesvararuparh  bhavayet,  svetavarnarh 
trinetrarh  jatamukutinarh  nirbhusanarh  vyaghracarmaprabhrtarh  sirhha- 
sanastharh  maharajalilarh  candrasanarh  candraprabharh  bhavayet. 
Dak  sine  sitaphanivestitarh  trisularh  svetarh,  vame  nanasugandhikusuma* 
paripuritapadmabhajanarh.  Vamahastat  uttharh  padmopari  jvala- 
tkhadgarh".  Sadhanamala,  p.  63. 

'The  worshipper  should  think  himself  as  Simhanada  Lokesvara 
of  white  complexion,  with  three  eyes,  and  the  jatamukuta  (crown  of 
matted  hair).  He  is  without  ornaments,  is  clad  in  tiger-skin,  and 
sits  on  a  lion  in  the  attitude  of  princely  ease.  He  is  seated  on  the 
orb  of  the  moon  and  is  radiant  like  her.  In  his  right  there  is  a 
white  trident  entwined  by  a  white  snake,  and  in  his  left  there  is  a 
lotuS'bowl  full  of  fragrant  flowers.  From  his  left  hand  rises  a  lotus 
on  which  there  is  a  sword  burning  like  fire". 

Images  of  Simhanada  are  by  no  means  rare  and  are  rather  easy 
to  identify  because  of  clear-cut  symbols.  Fig.  99  is  the  famous  image 

1     Sadhanamala,  p.  36. 


128  BUDDHIST  ICONOGRAPHY 

of  Simhanada  from  Mahoba  carrying  a  rosary1.  Fig.  100  is  a  Nepalese 
statue  at  the  gate  of  a  monastery.  Fig.  101  illustrates  a  sculpture 
from  Magadha,  while  Fig.  102  is  a  small  bronze  of  Simhanada  with- 
out the  lion,  from  Nepal.  Simhanada  wears  no  ornaments  and  this 
feature  of  his  images  differentiates  him  from  Manjusri  when  he  is 
on  the  back  of  a  lion. 

Simhanada  is  popular  both  in  Tibet2  and  in  China 8. 

3.     KHASARPANA 

Colour — White  Symbol — Lotus 

Mudra — Varada          Asana — Lalita  or  Ardhaparyahka 

Companions — Tara,  Sudhanakumara,  Bhrkuti,  Hayagriva 

Khasarpana  is  described  in  a  number  of  Sadhanas  in  the  Sadhana- 
mala,  which  fact  points  to  his  popularity.  The  peculiar  feature  of 
this  god  is  that  he  is  invariably  accompanied  by  the  four  divinities 
Tara,  Sudhanakumara,  Bhrkuti  and  Hayagriva.  The  principal  figure 
is  the  same  as  Lokanatha,  two-armed,  and  one  faced,  carrying  the 
same  symbol  and  exhibiting  the  same  Mudra  ;  the  difference  lies  in 
the  fact  that  Lokanatha  has  only  two  companions,  Tara  and  Hayagriva 
while  Khasarpana  has  two  in  addition,  namely,  Bhrkuti  and  Sudhana- 
kumara. He  is  of  white  complexion,  and  sits  either  in  the  Lalita 
or  the  Ardhaparyahka  attitude.  Below  is  given  a  somewhat  lengthy 
Dhyana  describing  the  god  : — 

"Atmanam  Bhagavantam  dhyayat  himakarakotikiranavadatarh 
deham,  urdhvajatamakutam  Amitabhasekharam  visvanalinanisannam 
sasimandale,  ardhaparyahkanisannarh  sakalalankaradharavigraham 
smeramukham  dvirastavarsadeslyam  daksine  varadakaram  vamakarena 
sanalakamaladharam ,  karavigalatpiyusadhat  abhyavahararasikam  tada^ 
dhah  samaropitordhvamukham  mahakuksim  atikrsam  atisitivainarh 
Sucimukham  tarpayantam  srimat-Potalakacalodaranivasinam  karuna^ 
snigdhavilokanarh  srhgararasaparyupasitaih  atisantam  nanalaksanalah- 
krtarii.  Tasya  puratas-Tara  daksinaparsve  Sudhanakumarah. 

Tatra  Tara   syama,   vamakaravidhrtam   sanalam  utpalam    daksina* 
karena  vikasayanti  nanalahkaravati  abhinavayauvanodbhinnakucabhara. 
Sudhanakumarasca    krtanjaliputah     kanakavabhasidyutih,      kumararu- 
padhari  vamakaksavinyastapustakah  sakalalankaravan. 
Pascime  Bhrkuti  Hayagriva  uttare. 

Tatra  Bhrkuti  caturbhuja  hemaprabha  jatakalapini,  vame  tridandlka- 
mandaludharihasta  daksine  vandanabhinayaksasiitradharakara  trinetra. 

1.    First  published   by   K.N.  Dik shit. :  Six  Sculptures  fiom  Mahoba  in  the  A.  S.  I, 

Memoir  No.  8,  pi.  la,  p  2.  2,    Getty  :  GNB,  pp.  60,  61,  69* 

3.    Clark  :  TIP,  II,  pp.  199,  265.  For  the  Magadha  specimen  see  JR AS,  1894t  pi.  1. 


BODHISATTVA  AVALOKITESVARA  129 

Hayagrivo  raktavarnah  kharvalambodarah  urddhvajvalatpingalakesah 
bhujagayajnopavitl  kayilatarasmasrusremparicitamukhamandalah  rakta* 
vartulatrinetrah  bhrkntikutilabhrukah  vyaghracarmambarah  danda- 
yudhah  daksinakarena  vandanabhinayi. 

Ete  sarva  eva  svanayakananapreritadrstayo  yathasobham  avasthitas* 
cintanlyah... 

Iti  Khasarpanasadhanam''.  Sadhanamala,  pp.  39-41 

"The  worshipper  should  think  himself  as  the  god  (Khasarpana) 
from  whose  body  radiate  rays  of  a  crore  of  moons*  He  wears  the 
Jatamukuta  (crown  of  matted  hair),  holds  the  image  of  Amitabha  on 
his  head,  and  sits  on  the  moon  over  a  double  lotus  in  the  Ardhapary- 
afika  attitude.  He  is  decked  in  all  sorts  of  ornaments,  has  a  smiling 
face,  is  aged  about  twice  eight  years,  exhibits  the  Varada  pose  in 
the  right  hand,  and  holds  the  lotus  with  a  stem  in  the  left.  He  is 
an  expert  in  distributing  the  stream  of  nectar  that  flows  from  his 
hand,  and  Sucimukha  who  stands  below  with  an  uplifted  face,  a 
protruding  belly  and  very  pale  appearance  receives  the  same.  He 
resides  in  the  womb  of  the  mount  Potalaka,  looks  beautiful  with 
compassion,  is  full  of  the  sentiment  of  Srngara  (amour),  is  extremely 
peaceful  and  is  endowed  with  various  auspicious  marks 
"Before  him  is  Tara  and  to  the  right  is  Sudhanakumara 
"Here  Tara  is  green.  She  causes  to  blossom  with  her  right  hand 
the  lotus  flower  with  a  stem  held  in  her  left.  She  has  many  ornaments 
and  her  breasts  are  oppressively  heavy  due  to  adolescence 

"Sudhanakumara,  again,  has    his    two    hands    joined   (  anjali  ),    is 
resplendent    like    gold,    and    has    the    appearance    of  a    prince.     He 
carries  the  book  under  his  left  arm-pit  and  is  decked  in  all  ornaments. 
"To  the  West  of  the  god  is  Bhrkun  and  to  the  North  Hayagrlva 
"Here  Bhrkutl  has  four  arms,  is   resplendent  like  gold  has  matted 
hair,   carries   the   staff  with   three   horns   and   the   Kamandalu    in  the 
two     left   hands.     The   two    right     show     the     mudra   of  bowing   in 
one  and  the  rosary  in  the  second.     She  has  three  eyes. 

"Hayagriva  is  red  in  colour  and  is  short,  with  a  protruding  belly. 
His  hair  rises  upwards  in  the  shape  of  a  flame,  and  he  has  a  snake 
as  his  sacred  thread.  His  face  is  recognised  by  a  deep  brown  pair 
of  moustaches;  his  eyes  are  red  and  round;  his  eye-brows  are  distorted 
in  a  frown.  He  is  clad  in  tiger-skin,  has  the  staff  as  a  weapon, 
and  his  right  hand  exhibits  the  act  of  bowing. 

"All  these  deities  should  be  meditated  on  as  disposed  in  a  befitting 
and   artistic   manner,   with    their  eyes  directed   towards    the  face  of 
the  principal  deity.     Here  ends  the  Sadhana  for  Khasarpana.'* 
17 


130  BUDDHIST  ICONOGRAPHY 

The  finest  image  (Fig.  103)  of  Khasarpana  was  discovered  by  the 
late  N.  K.  Bhattasali  in  the  Pargana  Vikrampur  in  Eastern  Bengal  *. 
The  sculpture  is  recognized  to  be  one  of  the  best  products  of  Bengal 
art.  Had  the  central  figure  been  mutilated  like  the  one  reproduced 
in  Fig.  104  it  would  still  be  possible  to  identify  Khasarpana  by  means 
of  the  four  companions  to  the  right  and  the  left  of  the  principal  god. 
Images  of  Khasarpana  are  found  in  Tibet  2  and  China  •*. 

4,    LOKANATHA 

Colour— White  Symbol— Lotus 

Mudra — Varada 

Four  Sadhanas  are  devoted  to  the  worship  of  the  Lokanatha 
form  of  Avalokitesvara.  He  is  single  in  three  Sadhanas  and  only 
one  Sadhana  describes  him  as  accompanied  by  Tara  and  Hayagriva. 
The  same  Sadhana  adds  further  that  Lokanatha  should  be  accom- 
panied also  by  the  eight  Bodhisattvas  :  Maitreya,  Ksitigarbha,  Vajrapaiji, 
Khagarbha,  Viskambhin,  Samantabhadra,  Manjughosa,  and  Gagana- 
gafija,  and  by  the  four  goddesses  :  Dhupa,  Puspa,  Gandha,  and  Dlpa, 
and  by  the  four  guardians  of  the  gates  :  Vajrahkusi,  Vajrapasi,  Vajras- 
phota  and  Vajraghanta,  In  other  words  the  Sadhana  gives  the 
constitution  of  the  whole  Mandala  of  Lokanatha.  The  principal  god 
has  two  hands  and  carries  the  lotus  in  the  left  hand  and  exhibits  the 
Varada  pose  in  the  right,  exactly  like  Khasarpana  previously  described. 
The  Sadhana  which  is  in  verse  is  given  below  : 

"Purvavat-kramayogena  Lokanatham  sasiprabharh    I 
Hrihkaraksarasambhutam  jatamukutamanditam    II 
Vajradharmajatantahstham  asesaroganasanam    I 
Varadam  daksine  haste  vame  padmadharam  tatha    II 
Lalitaksepasamstham  tu  mahasaumyam  prabhasvaram    I 
Varadotpalakara  saumya  Tara  daksinatah  sthita    II 
Vandanadandahastastu  Hayagrivo'tha  vamatah    I 
Raktavarno  maharaudro  vyaghracarmambarapriyah'1    II 

Sadhanamala,  p.  49, 

"Following  the  same  procedure  as  before,  the  worshipper  should 
think  himself  as  Lokanatha,  resplendent  like  the  moon,  as  springing 
from  the  sacred  syllable  Hrih  and  wearing  the  Jatamukuta, 

"He  has  within  his  matted  hair  the  figure  of  the  god,  Vajradharma, 
is  the  destroyer  of  all  diseases,  exhibits  the  Varada  tnudra  in  the 
right  hand  and  carries  the  lotus  in  the  left. 


1.  Bhattasali :    IBBS,  p.  24f,  PI.  VII,a. 

2.  Gordon  :  ITL,  p,  66  3.    Clark  :  TLP,  II,  pp.  202,  264. 


BODHISATTVA  AVALOKITESVARA  131 

"He  sits  in  the  Lalita  attitude,  is  peaceful  and  resplendent.  To 
his  right  is  Tara,  who  has  a  peaceful  appearance,  exhibits  the  Varada 
mudra  and  carries  the  lotus. 

"To  the  left  is  Hayagnva,  who  displays  the  gesture  of  bowing 
and  carries  the  staff  in  his  two  hands.  He  is  red  in  colour,  appears 
terrible  and  is  clad  in  the" garment  of  tiger-skin". 

Later,  the  Sadhana  adds  an  account  of  the  deities  constituting 
the  Lokanatha  Mandala,  including  the  Bodhisattvas  and  the  gate- 
keepers. The  relevant  text  is  given  below  : 

'Tadvaratakastadale  padme  Maitreyadirh  ca  vinyaset     I 
Maitreyah  pitavarnasca  nagapuspavarapradah     II 
Ksitigarbhah  syamavarnah  kalasarh  cabhayarh  tatha     I 
Vajrapanisca  suklabho  vajrahasto  varapradah     II 
Khagarbho  nabhahsyamabho  cintamani-varapradah     I 
Manjughosah  kanakabhah  khadgapustakadharakah     II 
Gaganaganjo  raktavarno  nilotpalavarapradah    I 
Viskambhi  tu  ksaravarno  ratnottamavarapradah    II 
Samantabhadrah  pitabhah  ratnotpalavarapradah     I 
Dhupadicaturddevi  ca  Vajrankusyadidvaragah     II 
Varnayudhe  yathapurvarh  mandalasyanusaratah     I 
Evamvidhaih  samayuktarh  Lokanathsrh  prabhavayet    II". 

Sadhanamala,  pp.  49-50 

(tOn  the  eight  petals  of  the  lotus  [on  which  the  god  sitsj  should  be 
placed  the  gods  Maitreya  and  others.  Maitreya  is  yellow  in  colour 
carries  the  Naga  [kesara]  flower  and  exhibits  the  Varada  pose.  Ksitigar- 
bha  is  of  green  colour,  carries  the  Kalasa  and  exhibits  the  Abhaya 
pose.  Vajrapani  is  whitish  in  colour,  carries  the  Vajra  and  exhibits 
the  Abhaya  mudra.  Khagarbha  has  the  colour  of  the  blue  sky, 
carries  the  Cintamani  and  exhibits  the  Varada  mudra.  Manjughosa 
is  of  golden  complexion  and  carries  in  his  two  hands  the  sword  and 
the  book.  Gaganaganja  is  of  red  colour,  carries  the  lotus  and 
exhibits  the  Varada  mudra.  Viskambhin  is  ash-coloured,  carries 
the  excellent  jewel  and  exhibits  the  Varada  mudra.  Samantabhadra 
is  yellowish  in  complexion,  carries  the  jewel  on  a  lotus  and  exhibits 
the  Varada  mudra.  The  four  goddesses  Dhupa  and  others  (accom- 
pany Lokanatha)  and  the  (four  goddesses)  Vajrankusi  and  others 
guard  the  gates,  their  colour  and  weapons  being  in  accordance  with 
the  canons  the  Mandala.  In  this  way  Lokanatha  should  be  meditated 
upon  by  the  worshipper". 

When  represented,  Lokanatha  is  generally  alone  and  is  occasion- 
ally accompanied  by  Tara  and  Hayapilva.  In  paintings  of  the  com- 
plete Mandala  alone  all  the  companion  deities  are  expected  to  be 


132  BUDDHIST  ICONOGRAPHY 

present.  Lokanatha  may  sit  in  three  attitudes  according  to  three 
different  Sadhanas  ;  he  may  have  the  Lalita,  the  Paryanka  or  the 
Vajraparyahka  attitude.  Out  of  all  images  of  Lokanatha  so  far 
discovered,  the  one  from  Mahoba  is  perhaps  the  best  and  the  most 
artistic  (Fig.  105),  There  is  a  fine  bronze  of  Lokanatha  (Fig  106)  in 
the  Baroda  Museum.  The  Sarnath  image  (Fig-  107)  shows  the 
miniature  figure  of  Amitabha  in  the  Samadhi  mudra  on  the  crown. 
The  Nepal  image  is  made  of  pure  ivory  (Fig.  108).  These  last  two 
represent  Lokanatha  in  the  standing  attitude, 

5     HALAHALA 

Colour — White  Faces— Three 

Hands — Six  Companion — Prajna 

Three  Sadhanas  in  the  Sadhanamala  are  devoted  to  the  worship  of 
Halahala  Lokesvara.  Images  of  this  divinity  are  rarely  to  be  met  with 
in  India,  but  in  Nepal  there  are  some,  though  they  do  not  strictly  follow 
the  Sadhana.  The  distinguishing  feature  of  Halahala  is  that  he  is 
generally  accompanied  by  his  Sakti  or  female  energy  whom  he  carries 
on  his  lap.  The  Sadhanas  all  enjoin  the  presence  of  the  Sakti,  but  in 
a  stone  image  from  Nepal  (Fig.  109),  he  is  represented  alone.  According 
to  the  Sadhana  the  god  should  be  seated,  but  the  image  above  referred 
to  represents  him  in  a  standing  attitude.  The  Dhyana  contained  in  one 
of  the  Sadhanas  is  in  verse  and  reads  as  follows  : 

"Hrlhkarabijanispannarh  Halahalam  mahakrpam     I 
Trinetrarh  trimukham  caiva  jatamukutamanditarh     II 
Prathamasyam  sitam  niladaksinam  vamalohitam     I 
Sasankardhadharam  murdhni  kapalakrtasekharam     II 
Jatantahsthajinam  samyak  sarvabharanabhusitam     I 
Sitaravindanirbhasam  srngararasasundaram     II 
Sadbhujam  smeravaktram  ca  vyaghracarmambarapriyam     I 
Varadam  daksine  panau  dvitiye  caksamalikam    II 
Trtlye  saranarttanam  ca  vame  capadharaih  tatha    I 
Dvitiye  sitapadmam  ca  trtlye  stanameva  ca     II 

Vamajanuna  sitam  Svabhadevlrh  dadhanam.  Vamena  kamaladharam 
daksinena  bhujena  Bhagavadalifiganaparam  kusumasobhitajatakalapam, 
Daksinaparsve  sarpavestitam  trisulam,  vamaparsve  padmasthakapalam 
nanasugandhikusumaih  sampurnam,  raktapadmacandre  Hlaksepasthi- 
tam  vibhavayet  Bhagavantam.M  Sadhanamala,  pp.  65-66. 


1.    K.  N.  Dikshit :    S»x  Scu!ptit»fis  from  Mahoba,  in  the  Memoir  No,  8  of  A.SJ. 


B3DHISATTVA  AVALOKITESVARA  133 

"The  worshipper  should  think  himself  as  Halahala,  the  Great  Com- 
passionate, originating  from  the  sacred  syllable  Hrih,  with  three  eyes, 
three  faces  and  matted  hair  rising  upwards  in  the  shape  of  a  crown. 
The  first  (or  the  principal)  face  is  white,  the  right  blue  and  the  left  red. 
He  bears  on  his  head  the  crescent  and  the  Kapala.  The  Jma  Amitabha 
is  within  his  matted  hair  and  he  is  decked  in  all  ornaments.  He  is 
resplendent  like  the  white  lotu.s  and  appears  beautiful  by  the  sentiment 
of  passionate  love  he  displays.  He  has  six  arms,  a  smiling  face  and  is 
fond  of  garments  of  tiger-skin.  He  displays  the  Varada  mudra  in  the 
first  right  hand,  the  second  has  the  rosary,  while  the  third  flourishes 
the  arrow.  The  first  left  hand  carries  the  bow,  the  second  the  white 
lotus  and  the  third  touches  the  breast  (of  his  Sakti).  He  carries  the 
Sakti  of  his  own  creation  on  the  left  lap.  She  shows  the  lotus  in  the 
left  hand  and  the  right  is  engaged  in  the  act  of  embracing  the  god  Her 
Jata  (matted  hair)  is  decorated  with  flowers.  To  their  right  is  the 
Trisula  entwined  by  a  snake,  and  on  the  left  is  the  Kapala  on  the  lotus, 
full  of  fragrant  flowers.  The  god  sits  in  the  Lalita  attitude  on  the  red 
lotus1'. 

One  image  of  Halahala  is  found  in  China  ] . 

6.     PADMAN4RTTESVARA 

(I)     Eighteen — Armed 
Face  -  One  Arms  — Eighteen 

Asana — Dancing  in  Ardhaparyahka 
Symbol — Double  lotus  in  all  hands 

Three  Sadhanas  in  the  Sadhanamala  are  devoted  to  the  worship  of 
this  variant  of  Avalokitesvara,  all  entirely  different  and  describing 
three  widely  different  forms  of  the  deity.  It  is,  therefore,  necessary 
that  all  the  three  Dhyanas  should  be  quoted  and  translated.  There  is 
no  difficulty  in  taking  the  three  to  refer  to  Padmanarttesvara,  because 
all  doubt  is  set  at  rest  by  the  fact  that  the  Mantra,  where  mentioned,  is 
in  all  cases  the  same,  and  that  the  Sadhanas  always  designate  him  as 
Padmanarttesvara. 

Images  of  Padmanarttesvara  are  rare  in  India.  Fig.  110  illustrates 
one  good  example  from  Nepal.  It  follows  the  Dhyana  given  below  : 

'Tadmanarttesvaramnayena  Arya-Avalokitesvara-Bhattarakarh  atma- 
narh  vibhavayet  ekamukham  astadasabhujarh  ardhaparyahkinam  Ami* 
tabhajatajutamandalam  sarvakarair-visvapadmadharinam,  yoginlvrnd- 
aparivrtam,  daksinavamaparsvasthita-Tara-Sudhana-Bhrkuti-Hayagrlvam 
divyalahkaravastrabhusanam  ."  Sadhanamala,  p.  77. 

1.    Clark  :  TLP,  II,  265. 


134  BUDDHIST  ICONOGRAPHY 

"The  worshipper  should  think  himself  as  Bhattaraka  Avalokitesvara 
in  the  form  of  Padmanarttesvara,  who  is  one-faced  and  eighteen^armed. 
He  stands  in  the  Ardhaparyahka  attitude,  and  on  his  Jatamukuta  there 
is  an  effigy  of  Amitabha.  He  carries  the  double  lotus  in  all  his 
(eighteen)  hands  and  is  surrounded  by  a  host  of  Yoginis.  His  right 
and  left  sides  are  occupied  by  Tara,  Sudhana,  Bhrkuti  and  Hayagnva. 
He  is  decked  in  all  kinds  of  divine  ornaments  and  dress". 

The  Asana  prescribed  in  the  Sadhana  is  the  Ardhaparyanka.  This 
Asana  may  have  two  \arieties  ;  the  ordinary,  which  is  also  called  the 
Maharajalila,  as  in  the  cases  of  Vaglsvara  and  Simhanada,  and  the  dan- 
cing variety,  (ardhaparyankena  natyastha)  as  in  the  cases  of  Heruka, 
VajravSrahi  and  others.  As  the  word  'narttesvara'  means  the  "God  of 
Dance7'  or  the  "God  in  a  dancing  attitude"  the  Asana  of  Pad  man  antes- 
vara  may  be  taken  as  the  dancing  variety  of  Ardhaparyanka,  and  this  is 
borne  out  by  the  fact  that  the  Nepal  image  illustrated  in  Fig.  110  shows 
the  god  in  this  particular  attitude.  This  image  hails  from  the  Sarasvatl- 
sthana  or  the  Manjusri  Hill  at  Svayambhuksettra  in  Nepal.  Though 
the  god  is  here  represented  with  only  two  of  the  companion  deities, 
yet  the  principal  figure  corresponds  in  all  details,  to  the  description 
given  in  the  Sadhanamala. 

One  statuette  of  this  god  is  found  in  China  l.  This  Chinese 
statuette  is  illustrated  in  Fig.  111. 

(II)  Two-Armed 

Colour — Red  Companion—  Sakti 

Mudra — Sue!  Symbol—  Lotus 

Vahana — Animal 

Another  form  of  Padmanarttesvara  is  described  in  a  second  Sadhana. 
and  the  Dhyana  contained  therein  runs -as  follows  : 

"Padmanarttesvaram  atmanam  bhavayet  sattvaparyankanisannarii 
dvibhujaikamukham  raktam  sakalalankaradharam  Amitabhamukutam 
vamaparsve  Pandaravasinlsamaslistam  alinganabhinayasthitavamabhu' 
jena  raktapadmadharam,  narttanabhinayena  Sucimudraya  vikasayada- 
paradaksinakaram...".  Sadhanamala,  p.  75. 

'The  worshipper  should  think  himself  as  Padmanarttes\  ara,  who 
is  seated  on  an  animal,  is  two-armed  and  one-faced.  His  colour  is  red, 
and  he  is  decked  in  all  kinds  of  ornaments  ;  he  bears  the  effigy  of 
Amitabha  on  the  crown  and  is  embraced  by  Pandaravasinl  in  the  left. 
His  left  hand,  which  carries  the  lotus,  is  raised  in  the  act  of  embracing 
(  the  Sakti  ),  while  the  right  shows  the  Sucimudra  in  the  act  of 
dancing...  J\ 

1.    Calrk  :  TLP,  II,  193.  "" 


BODHISATTVA  AVALOKITESVARA  135 

The  same  Sadhana  which  contains  the  Dhyana  quoted  above,  gives 
a  description  of  the  Mandala,  and  adds  the  information  that  the  lotus 
on  which  the  god  sits  has  eight  petals.  The  petals  contain  one  goddess 
each.  For  instance,  on  the  East  petal  there  is  Vilokinl,  white  in  colour 
and  carrying  the  red  lotus.  The  South  is  occupied  by  Tara  of  green 
colour,  holding  the  Palasa  and  the  lotus  flowers.  Bhurim  is  in  the 
West,  is  yellow  in  complexion  and  carries  the  Cakra  and  the  blue  lotus* 
Bhrkuti  is  in  the  North,  with  white  colour  holding  the  yellow 
lotus.  In  the  North-East  there  is  Padmavasini,  who  is  yellow  in 
colour  and  holds  the  red  lotus.  The  South-East  is  occupied  by 
Visvapadmesvari,  who  is  sky-coloured  and  holds  the  white  lotus.  The 
South* West  is  occupied  by  Visvapadma,  who  is  white  and  carries  the 
the  black  lotus.  In  the  Norh-West  there  is  Visvavajra  of  variegated 
colour  holding  the  double  lotus  ] . 

Fig.  112  illustrates  a  Nepalese  drawing  of  the  principal  deity 
although  it  does  not  agree  with  the  Sadhana  in  all  details. 

(Ill)    Eight- Armed 

Colour — Red  Arms — Eight 

Asana — Dancing  in  Ardhaparyahka 

One  Sadhana  in  the  Sadhanamala  describes  an  eight-armed  form 
of  Padmanarttesvara.  The  Dhyana  contained  therein  is  given  below  : 

"Namah  Padmanarttesvaraya. 

Tatra  Visvapadmopari  candre  rakta-Hrihkaraparinatam  Padmanar- 
ttesvaram  raktavarnam  ekamukham  jatamukutinam  trinetram,  asta- 
bhujam  sarvalankarabhusitam  sarpayajnopavitam  ardhaparyahkena 
tandavam.  Prathamabhujadvayena  nrtyabhinayam,  dvitiyadaksinabhu- 
jena  hrdi  vikasayantam  sucimudram,  vamabhujena  raktapadmam  sirasi 
dhrtam,  trtlyabhujadvayena  vajravaddandatrisuladharam,  caturtha- 
bhujadvayena  aksasutrakundikadharam,  astadevlparivrram,  evambhutarh 
Padmanattesvaram  Lokanatham  bhavayet/'  Sadhanamala,  p.  76. 

4  Salutation  to  Padmanarttesvara  ! 

Here  the  worshipper  should  think  himself  as  Padmanattesvara, 
on  the  moon  over  the  double  lotus,  originating  from  the  sacred 
syllable  Hrlh.  He  is  red  in  colour  with  one  face,  the  Jatamukuta, 
three  eyes  and  eight  arms.  He  is  decked  in  all  sorts  of  ornaments, 
wears  the  sacred  thread  of  a  snake,  and  dances  in  the  Ardhaparyaftka 
attitude.  The  first  pair  of  hands  exhibits  the  dancing  pose ;  the 
second  right  shows  the  Sucimudra  against  the  chest,  the  second  left 
holds  a  red  lotus  over  his  head.;  the  third  pair  carries  the  staff  and 
the  Trisula,  stamped  with  the  Vajra  ;  while  the  fourth  pair  carries  the 

1      Sadhanamala,  pp,  75—76. 


136  BUDDHIST  ICONOGRAPHY 

rosary  and  the  water^pot.  The  principal  god  is  surrounded  by  eight 
goddesses.  In  such  a  manner  the  god  Padmanarttesvara  Lokanatha 
should  be  meditated  upon". 

7.    HARIHAR1HARIVAHANA 
Colour— White  Arms— Six 

Vahana — Sithha,  Garuda  and  Visnu 

The  composition  of  the  deity  is  so  queer  that  great  difficulty  is 
experienced  in  recognizing  the  images  of  this  form  of  Avalokitesvara, 
called  by  the  peculiar  name  of  Harihariharivahana.  The  Sadhana 
gives  a  description  of  the  god,  but  is  practically  silent  as  ro  why  such 
a  special  name  is  given  to  this  particular  variety  of  Lokesvara.  India 
has  not  given  uptil  now  any  image  of  Harihariharivahana  and  it  is 
rare  even  in  Nepal.  There  is  only  one  sculpture  at  Svayambhuksettra 
and  a  bronze  in  one  of  the  monasteries  at  Pattan,  and  both  of  them 
follow  the  Sadhana  faithfully.  The  lion  is  lowermost,  on  it  rides 
Garuda.  On  the  back  of  Garuda,  again,  rides  the  Hindu  god  Visnu 
with  the  four  symbols,  the  conch,  the  discus,  the  mace  and  the  lotus. 
On  the  shoulder  of  Visnu  rides  Lokesvara.  The  lion,  the  Garuda 
and  the  god  Visnu,  all  have  'Hari'  as  their  synonym  and  because  the 
vehicle  of  Lokesvara  is  composed  of  three  'Hari's,  the  principal  god 
acquires  the  name  of  Harihariharivahana.  Two  Sadhanas  in  the 
Saclhanamala  are  devoted  to  the  worship  of  this  form  of  Arya 
Avalokitesvara  and  the  Dhyana  in  one  of  them  describes  the  god  in 
the  following  terms  :- 

Harihanharivahanodbhavam  Bhagavantarh  Arya-Avalokitesvaram 
sarvangasuklam  jatamukutinam  santavesam  daksinakarena  Bhagavantarh 
Tathagatam  saksinam  kurvantam  dvitl>ena  aksamaladharinam  trtlyena 
duhkuhakam  lokam  upadesayantam  vamena  dandadharam  dvitiyena 
krsnajinadharam  trtlyena  kamandaludharam  simha*garuda-visnu- 
skandhasthitam  atmanam  dhyatva..." 

Sadhanamala,  p.  77 

"The  worshipper  should  think  himself  as  the  Harihariharivahana  form 
of  god  Avalokitesvara,  white  in  all  limbs,  with  the  Jatamukuta  (crown 
of  matted  hair)  and  clad  in  graceful  garment?.  He  cites  the  Tathagata 
as  witness  with  one  of  his  right  hands,  carries  the  rosary  in  the  second, 
and  instructs  deluded  people  with  the  third.  He  carries  the  staff  in 
one  of  his  left  hands,  the  deer-skin  in  the  second  and  the  Kamandalu 
in  the  third.  He  sits  on  the  shoulder  of  Visnu  below  whom  there 
are  Garuda  and  the  lion.  Thus  meditating..." 


BODHISATTVA    AVALOKITESVARA  137 

In  the  drawing  of  Hariharharivahana  illustrated  in  the  Appendix 
there  is  a  snake  below  the  lion.  The  snake  also  has  the  synonym 
of  'Hari'  in  Sanskrit,  and  that  is  how  a  snake  is  added,  although  it  is 
not  required  by  the  Sadhana.  Fig.  113  is  a  Nepalese  drawing  of 
the  god  and  here  instead  of  the  deer-skin  in  one  of  the  left  hands, 
an  actual  elephant  is  seen.  In  other  respects  the  drawing  represents 
the  principal  god  in  all  details.  This  deity  is  also  known  in  China1. 

8.    TRAILOKYAVASANKARA 
Colour — Red  Asana — Vajraparyanka 

This  variety  of  Lokesvara  is  also  known  by  the  name  of  Uddivana 
or  Oddiyana  Lokesvara  or  Lokesvara  as  worshipped  in  Uddiyana 
which  was,  in  the  middle  ages,  a  great  centre  ofTantric  learnmg.lt 
has  already  been  shown  that  there  are  good  grounds  for  identifying 
this  Uddiyana  with  the  village  of  Vajrayogini  in  the  Pargana  Vikrampur 
in  the  district  of  Dacca  now  in  Eastern  Pakistan.  This  form  of 
Lokesvara  does  not  seem  to  have  been  widely  represented.  There 
is  a  bronze  image  of  the  god  in  the  Kva  Vahal  at  Pattan  in  Nepal, 
but  it  does  not  follow  the  Sadhana  in  all  details.  Two  Sadhanas  in 
the  Sadhanamala  are  devoted  to  the  worship  of  Trailokyavasahkara 
and  the  Dhyana  contained  in  one  of  them  is  given  below  :- 

"Lokesvaiam  sarvahgamaharagaraktarh  ekamukham  dvibhujam 
trinetram  jatamukutamanditam  vajrankitapasahkusahastam  raktapadme 
vajraparyahkanisarmam  div^abharanavastravibhusjtam  atmanam 
vicintya".  Sadhanamala,  p.  80 

"The  worshipper  should  think  himself  as  Lokesvara  whose  limbs 
are  reddened  b>  the  intense  sentiment  of  passion,  ar  d  who  is  one-faced, 
two-armed  and  three*eyed.  He  wrears  a  crown  of  matted  hair,  and 
carries  in  his  two  hands  the  noose  and  the  goad  stamped  with  the 
Vajra.  He  is  seated  on  a  red  lotus  in  the  Vajrapar>ahka  attitude  and 
is  decked  in  celestial  garments  and  ornaments.  Thus  meditating..  " 

The  Dhyana,  it  may  be  noticed,  does  not  expressly  mention  the 
name  of  Trailokyavasankara  which  is  given  in  the  colophon.  It 
further  says  that  the  Sadhana  is  composed  by  the  great  Tantric  savant, 
Sarahapada,  famous  in  the  Middle  Ages  as  one  of  the  eighty-four 
Mahasiddhas— 'Great  Mystics'.  Two  illustrations  of  this  form 
of  Avalokitesvara  occur  in  the  Two  Lamaistic  Pantheons  of  Clark2* 
Fig.  114  illustrates  one  of  the  statuettes  in  China. 

1.  Clark  :    TLP,  II,  p.  266 

2.  Clark      TLP,  pp.  219,  266. 
18 


138  BUDDHIST  ICONOGRAPHY 

9.    RAKTAIOKESVARA 

(  I  )     Four— Armed 
Colour — Red  Arms — Four 

Companions — Tara  and  Bhrkuti 

Two  Sadhanas  in  the  Sadhanamala  are  devoted  to  his  worship,  but 
the  two  Dhyanas  describe  two  widely  different  forms  of  the  god.  It  is 
necessary,  therefore,  to  quote  and  translate  both  the  Dhyanas.  One 
of  the  Dhyanas  describe  him  thus  : 

"Daksinottaraparsve  Tara-Bhrkutidevidvayasahitam  Arya^Avalo- 
kitesvara-Bhattarakarh  raktavarnam  raktama.yambaranulepanarh  pasah- 
kusadhanurbanadharamcaturbhujam,.raktakusumavatasokataroradhastat 
avasthitam  atmanarii  vicintayet... 

Rakta-Lokesvarasadhanam"  Sadhanamala,  p.  83 

"The  worshipper  should  think  himself  as  Arya^Avalokitesvara, 
who  is  flanked  in  his  right  and  left  by  the  two  goddesses  Tara  and 
Bhrkuti.  He  is  red  in  colour,  wears  red  garments  and  is  besmeared 
with  red  unguents.  He  carries  in  his  four  hands,  the  noose,  the  goad, 
the  bow  and  the  arrow.,  and  stands  under  the  Asoka  tree,  which  has 
blossomed  into  red  flowers.1' 

The  colophon  of  the  Sadhana  attributes  to  him  the  name  of  Rakta- 
Lokesvara  and  this  name  is  given  simply  because  his  colour  is  red. 
Images  of  Rakta-Lokesvara  are  rare.  A  few  can  be  seen  in  the  Kva 
Vahal  at  Pattan  in  Nepal.  Statuettes  of  Rakta-Lokesvara  are  found  in 
China  under  the  title  of  Caturbhuja  Avalokitesvara  *.  This  Chinese 
statuette  is  illustrated  in  Fig.  115. 

(  II  )     Two-Armed 

Colour— Red  Symbol — Lotus 

Mudra — Opening  of  the  Petals 

The  second  Sadhana  in  the  Sadhanamala  describes  a  two-armed 
form  of  the  god  Rakta-Lokesvara*  This  two-armed  form  is  not  met 
with  either  in  painting  or  in  stone.  The  Dhyana  contained  in  the 
Sadhanamala  describes  this  two-armed  form  in  the  following  words  : 

*  'Raktavarnam  Amitabhagarbha  jatamukutadharam  vamakaragrhita- 
raktapadmam  tacca  daksinakarena  vikasayantam  vividhalankaravastra- 
vibhusitam...".  Sadhanamala,  p.  84 

"The  worshipper  should  think  himself  as  Rakta-Lokesvara  of  red 
colour,  having  a  Jatamukuta  (crown  of  matted  hair)  bearing  the  effigy 

1.    Clark  :  TLP,  II.  p.  219. 


BODHISATTVA  AVALOKITESVARA  139 

of  Amitabha.     He  carries   the  red  lotus  in  the  left  hand,  and  opens  its 
petals  with  the  right  and  is  decked  in  various  ornaments  and  dress../' 

A  reference  may  here  be  made  to  the  Dhyana  of  Vajradharma 
another  variety  of  Lokesvara,  equally  unrepresented,  whose  form  will 
be  described  later  in  this  chapter.  The  forms  of  Rakta-Lokesvara  and 
Vajradharma  are  almost  identical  with  the  difference  that  the  Sadhana 
enjoins  for  Vajradharma,  the  Vahana  of  a  peacock. 

10.     MAYAjALAKRAMA 
Faces — Five  Hands — Twelve 

Asana — Pratyalidha        Colour — Blue 

As  the  Sadhana  for  the  worship  of  this  particular  form  of  Avalokit* 
esvara,  occurs  originally  in  the  Mayajala  Tantra,  this  peculiar  name 
has  been  given  to  the  deity.  This  is  the  only  fierce  form  of  Lokesvara 
known  to  the  Indian  Buddhists,  although  fiercer  forms  are  to  be  met 
with  in  the  Tibetan  Buddhist  Iconography.  The  Dhyana  given  in  the 
Sadhanamala  describes  him  in  the  following  terms  : 

"Bhagavantam  Arya-Avalokitesvaram  krsnavarnam  pratyalldhasthaih 
suryamandalasthitarh  pancamukham  trinetram  dvadasabhujarh  sita- 
raktadaksinamukhadvayam  tatha  pitaharitavamamukhadvayam  daksina" 
bhujaih  damaru-khatvanga-ahkusa-pasa"vajra'Saradhararh,  vamabhujaih 
tarjam-kapala'raktakamala'mani'cakra-capadharam  darhstrakaralasakal' 
avadanarh  sanmudropetam  sardramundamalalankrtasai  Iram  nagnam 
sarvahgasundafarh  atmanam  jhatiti  pratyakalayya..." 

Sadhanamala,  p.  86 

"The  worshipper  should  think  himself  as  Arya^Avalokitesvara,  whose 
colour  is  blue.  He  stands  in  the  Pratyalidha  attitude,  on  the  orb  of  the 
sun.  He  is  five^faced,  three-eyed,  twelve-armed,  with  the  two  right 
faces  of  white  and  red  colour,  and  two  left  of  yellow  and  green  colour. 
He  carries  in  his  right  hands  the  L  Damaru,  2.  the  Khatvanga, 
3.  the  goad,  4.  the  noose,  5.  the  Vajra  and  the  6.  the  arrow,  and 
in  the  left  hands  the  1.  raised  index  finger,  2.  the  Kapala,  3.  the  red 
lotus,  4.  the  jewel,  5.  the  discus,  and  6.  the  bow.  His  faces  look 
terrible  with  bare  fangs.  He  wears  the  six  bone  ornaments  and  his 
person  is  embellished  by  the  garland  of  heads.  He  is  nude  and  appears 
beautiful  in  all  limbs.  Thus  quickly  meditating..." 

One  illustration  of  this  form  of  Lokesvara  occurs  in  the  Two 
Lamaistic  Pantheons  of  Clark  l.  His  statue  can  be  seen  in  Nepal  at 
Svayambhuksettra.  A  Nepalese  drawing  of  this  form  is  illustrated  in 
the  Appendix. 

1.    Clark V  TUMI,  p.  267  ~~~ 


140      .  BUDDHIST  ICONOGRAPHY 

11.    NfLAKANTHA 

Colour — Yellow         Asana — Vajraparvahka. 
Mudra — Samadht      Symbol— Bowl  of  Jewels 
Companions — Two  serpents  on  either  side 

One  Sadhana  only  is  devoted  to  the  worship  of  this  form  of  Lokes- 
vara,  which  is  almost  identical  with  that  of  Amitabha,  his  sire,  whose 
image  he  bears  on  his  head.  Indeed,  this  mark  of  descent  and  the 
sacred  thread  he  wears,  constitute  the  only  points  of  difference  between 
them.  Amitabha  being  a  Dhyani  Buddha,  has  no  father.  Nilakantha, 
according  to  the  Sadhana,  is  accompanied  by  two  serpents.  The  Dhyana 
is  given  below 

"Bhagavantam  pitavarnam  ardhacandrahkitajatamukutinam  Amita- 
bhopalaksitasirahpradesam  raktapadmoparisthitam  ;  krsnasaraharina- 
carmani  vajraparyankinam  samadhimudropari  nanaratnaparipurnaka- 
paladharinam  eneyacarmakrtayajnopavltinam,  vyaghracarmambara- 
dharam  nirabharanam  Nilakantham  nilagutikavisistakantham  ;  parsva- 
dvaye  parasparabhisambaddhapuccha'Samaniphanavisista-Bhagavadavalo- 
kanaparordhvamukhakrsnasarpadvayopalaksitam  atmanam  evarh 
vibhavayet-..  Sadhanamala,  pp.  85-86 

"The  worshipper  should  think  himself  as  the  god  Nilakantha,  who  is 
yellow  in  colour  and  whose  Jatamukuta  is  adorned  with  the  crescent  and 
the  effigy  of  Amitabha.  He  sits  in  the  Vajraparyahka  attitude  on  a  red 
lotus,  on  which  is  spread  the  skin  of  black  deer.  He  exhibits  the 
Samadhi  mudra  with  his  two  hands  carrying  the  Kapala  (bowl)  filled 
with  a  variety  of  gems.  His  sacred  thread  is  made  of  the  deer-skin 
(eneya-carma).  He  wears  the  tiger-skin,  and  bears  no  ornaments  (on  his 
person).  His  throat  shows  the  blue  pill  (of  poison).  The  two  sides 
of  the  god  are  occupied  by  two  cobras  with  jewels  on  their  hoods  and 
tails  entwined  with  each  other.  They  look  towards  the  god.  Thus 
mediating..." 

Apparently,  the  conception  of  this  god  has  been  modelled  on  the 
Hindu  deity  Siva,  who  is  said  to  have  saved  the  world  from  destruction 
by  swallowing  the  poison  that  issued  from  the  mouth  of  Vasuki,  the 
lord  of  serpents,  while  the  gods  and  demons  were  churning  the  ocean 
together.  The  poison,  could  it  have  entered  Siva's  stomach,  would 
surely  have  destroyed  him,  but  it  remained  in  his  throat,  and  as  the 
colour  of  the  poison  is  said  to  be  blue,  there  is  a  blue  spot  in  the 
white  throat  of  the  god.  That  is  the  reason  why  the  name  Nilakantha 
(Blue- throat)  has  been  given  to  Siva.  As  this  particular  form  of 
Lokesvara  has  also  the  same  name,  it  may  well  be  that  its  origin  was  the 
Hindu  god  Siva  Nilakantha. 


BODHISATTVA  AVALOKITESVARA  141 

A  confusion  is  likely  to  arise  in  the  identification  of  the  images  of 
Nilakantha  and  Vajraraga,  a  variety  of  Manjusrl,  if  rheir  respective 
sires  are  not  represented.  The  only  point  of  distinction  in  that  case 
would  be  the  total  absence  of  ornaments  and  rich  garments  in  the  case 
of  Nilakantha.  If  the  image  bears  princely  ornaments  and  is  richly 
clad,  it  must  be  identified  as  that  of  ManjusrL 

In  the  temple  of  Bodhnath  in  Nepal,  a  coloured  image  of  this 
god  is  found,  but  here  he  is  alone,  without  the  serpents.  The  other 
image,  (Fig.  116)  hails  from  the  monastery  at  Sarnath.  In  this  sculpture 
two  tiny  figures  carrying  bowls  are  seen  instead  of  two  serpents. 

One  statuette  of  this  deity  occurs  in  the  Chinese  collection  l. 

12.     SUGATISANDARSANA 
Colour — White  Arms — Six 

One  short  Sadhana  in  the  Sadhanamala  describes  this  form  of 
Avalokitesvara.  The  Dhyana  for  Sugatisandarsana  describes  his  form 
in  the  following  words  : 

''Sugatisandarsana-Lokesvara-Bhattarakam  suklavarnarh  sadbhujam 
varadabhayaksamaladharam  daksme,  vame  padmakunditridandidharam 
ca  ratnabharanabhusitarh  vratasutradharinarh  jatamukutarh  padmopari 
candramandalasthitam  saumyaruparh  bhavayet".  Sadhanamala,  p.  88 

The  worshipper  should  think  himself  as  Bhattaraka  Sugatisandarsana 
Lokesvara  white  in  complexion,  six-armed,  showing  the  Varada  and 
Abhaya  poses  and  the  rosary  in  the  three  right  hands,  and  carrying 
the  lotus,  the  water-pot  and  the  staff  with  three  horns  in  the  three  left 
hands.  He  is  decked  in  ornaments  and  jewels,  wears  the  sacred  thread 
and  a  crown  of  matted  hair.  He  stands  on  the  moon  over  lotus 
and  is  peaceful  in  appearance'*. 

Fig.  117  illustrates  a  Nepalese  drawing  of  Sugatisandarsana  Lokesvara 
which  agrees  with  the  Sadhana  in  major  details. 

13.    PRETASANTARPITA. 
Colour — White  Arms — Six 

Only  one  Sadhana  in  the  Sadhanamala  describes  this  form  of 
Avalokitesvara.  The  Dhyana  describing  the  form  of  Pretasantarpita  is 
brief  and  is  worded  as  follows  : 

"Jatamukutinarh  sadbhujam  prathamabhujadvayena  varadau  dvitlya- 
bhujadvayena  ratnapustakau  trtiyabhujadvayena  aksamalatridandikam, 
sarvalankarabhusitarh  vratasutradharinam  saurnyamurtim,  padmopari 
candramandale  sthitam  svetavarnarh  vibhavayet". 

Sadhanamala,  p.  89 

1.     Clark  :  TLP,  II,  p.  267, 


142  BUDDHIST  ICONOGRAPHY 

"The  worshipper  should  think  himself  as  Pretasantarpita  Lokesvara 
who  bears  the  Jatamukuta  (crown  of  matted  hair),  is  six^armed,  exhibits 
in  the  first  pair  of  hands  the  Varada  posesrcarries  in  the  scond  pair  the 
jewel  and  the  book,  and  in  the  third  pair  holds  the  rosary  and  the 
Tridandi  (staff  with  three  horns).  He  is  decked  in  all  sorts  of 
ornaments,  wears  the  sacred  thread,  has  a  graceful  appearance,  stands 
on  the  orb  of  the  moon  on  lotus,  and  is  white  in  colour/' 

Fig.  118  illustrates  a  Nepalese  drawing  of  Pretasantarpita  Lokesvara. 

14.     SUKHAVATl  LOKESVARA 
Colour— White  Faces— Three 

Arms — Six  Asana — Lalita 

Companion — Sakti 

A  description  of  the  deity  occurs  in  the  Dharmakosasafigraha  of 
Amrtananda.  Nepal  abounds  in  images  of  SukhavatI  Lokesvaia  both 
in  stone  and  in  bronze,  though  his  images  are  not  found  in  any  other 
Buddhist  country  of  the  North.  The  description  above  referred  to 
runs  as  follows  : 

**Trimukhah  svetavarnah  sadbhujah  dakse  mudrah,  saraksepa-japa- 
mala-varadani,  vamesu  dhanuh-kamala-Tarorusamarpanani  lalitasanah 
kamalopari,  Vajratara-Visvatara-Padmatarabhih  parivrtah.  Upari 
caityah. 

SukhavatI  Lokesvarah" 

"Sukhavati  Lokesvara  is  three-faced,  white  in  colour,  and  six-armed. 
One  of  his  right  hands  is  in  the  act  of  shooting  an  arrow,  the  remain- 
ing two  have  the  rosary  and  the  Varada  pose.  In  two  of  his  left  hands 
he  carries  the  bow  and  the  lotus,  and  the  third  is  placed  on  the  thigh 
of  Tara.  He  sits  in  Lalitasana  on  the  lotus,  and  is  surrounded  by  the 
goddesses  Vajratara,  Visvatara,  Padmatara  and  the  like.  There  is  a 
Caitya  on  the  top". 

Fig.  119  illustrates  a  sculpture  from  Nepal  representing  the  deity 
SukhavatI  Lokesvara.  Here  the  god  is  in  the  company  of  his  Sakti  but 
is  without  the  other  companions  as  prescribed. 

15.    VAJRADHARMA 
Colour— Reddish  White 
Vahana — Peacock  Symbol — Lotus 

One  Sadhana  in  the  Sadhanamala  describes  this  form  of  Avalo* 
kitesvara.  The  distinguishing  feature  of  this  god  is  that  he  rides  a 
peacock.  The  Sadhana  in  question  is  entirely  in  verse,  and  the 


BODHISATTVA  AVALOKITESVARA  143 

relevant  portion  containing  the  description  of  the  form  of  Vajradharma 
is  given  below  : 

'Tarn  sitarh   raktavarnam  tu  padmaragasamadyutirh    1 
Pancabuddhamukutadharam    harsenotphullalocanarh    II 
Vamato  spardhaya  nalam  dhrtva  sodasapatrakam     I 
Padmam  vikasayantanca  hrdi  daksinapanina     II 
Mayuropari  madhyasthe  nisannam  candramandale     I 
Sattvaparyankamabhujya  sasrngararasotsavam     II 
Caityantahsthamahakarma-kutagaraviharinam     I 
Bhavayet  Vajradharmagryam  nityam  Bodhim  avapnuyat."     II 

Sadhanamala,  p.  33. 

'The  worshipper  should  conceive  himself  as  excellent  Vajradharma, 
of  reddish  white  complexion,  bright  as  the  Padmaraga  gem,  who 
bears  the  effigies  of  the  Five  Dhyani  Buddhas  on  the  crown.  His 
eyes  beam  with  delight ;  and  he  holds  with  pride  the  stem  of  a  lotus 
with  sixteen  petals  in  his  left  hand  and  with  the  right  causes  it  to 
blossom  against  his  chest.  He  sits  on  the  moon  over  lotus  on 
the  back  of  a  peacock,  enjoys  his  seat  of  the  animal  and  displays 
the  delightful  sentiment  of  amour.  He  moves  in  the  sanctum  of  the 
Caitya,  the  place  for  great  performances.  He  ( the  worshipper  ) 
certainly  receives  the  Bodhi  who  meditates  (upon  him)  in  this  manner." 

Fig.  120  illustrates  a  Nepalese  drawing  of  the  deity.  A  statuette 
also  occurs  in  the  Chinese  collection  ] . 

GENERAL 

The  conception  of  Avalokitesvara  is  as  old  as  the  third  century 
B.  C.  He  was  first  ushered  into  existence  by  the  Mahasanghikas, 
about  the  time  of  Asoka,  in  their  work,  entitled,  Mahavastu  Avadana, 
where  he  has  been  characterised  as  the  "Bhagavan  who  takes  the 
form  of  a  Bodhisattva,  whose  duty  it  is  to  look  round  (Avalokita) 
for  the  sake  of  instructing  the  people  and  for  their  constant  welfare 
and  happiness"  2.  This  Avalokita  Bodhisattva  no  doubt  gave  rise  to 
the  concrete  form  of  Avalokitesvara,  even  before  the  second  century 
A.  D.  and  his  images  can  be  traced  from  the  Gupta  period  onwards. 
He  first  appears  in  the  Sukhavati  Vyuha  3,  and  a  passage  in  the 
Karandavyuha  where  he  is  said  to  manifest  in  all  possible  forms  of 
godhead  for  the  sake  of  the  ignorant  and  to  bring  salvation  to 

1.  Clark:    TLP,  II,  p.  265. 

2.  Senart :    Le  Mahavastu,  Vol.  II,  p.  ,294 

3.  This  work  was  first  translated  into  Chinese  between  A.D.  1 48  and  1 70  while 
the  smaller  recension  was  translated  into  the  same  language  between  A.D.  384 
and  417.    Max  Muller  :    Sukhavati  Vyuha,  introduction*  pp.  iii-iv. 


144  BUDDHIST  ICONOGRAPHY 

mankind,  accounts  undoubtedly  for  the  great  number  of  his  forms. 
As  different  people  belonged  to  different  faiths,  this  Compassionate 
Bodhisattva  wa*  obliged  to  assume  the  shape  of  all  gods  of  all  faiths, 
nay,  even  the  shape  of  father  and  mother.  Avalokitesvara  thus  is 
given  no  less  than  108  forms  which  are  painted  on  the  walls  of  the 
Macchandar  Vahal  atKuthmandu  in  Nepal  with  inscriptions  for  the 
purpose  of  identification.  All  these  paintings  have  been  copied  out 
by  an  expert  Nepalese  artist,  and  are  illustrated  in  this  book  in  an 
Appendix.  To  this  a  reference  mav  be  made  for  the  numerous  forms 
of  Avalokitesvara. 


CHAPTER  V 

EMANATIONS  OF  AMITABHA 
I.    GODS 

Besides  Avalokitesvara  and  a  few  forms  of  Manjusn  already  des* 
cribed,  only  two  male  divinities  in  the  Sadhanamala  emanate  from 
the  Dhyani  Buddha  Amitabha.  These  are  Mahabala  and  Saptasatika 
Hayagrlva.  Their  parental  Dhyani  Buddha,  it  may  be  remembered,  is 
distinguished  by  his  red  colour,  the  family  symbol  of  lotus,  and  the 
Samadhi  mudra  he  displays.  His  offsprings  Mahabala  and  Hayagrlva 
belong,  therefore,  to  the  lotus  family  and  should  show  the  signs 
characteristic  of  the  family.  They  are  studied  below  in  the  order 
of  their  importance. 

1.     MAHABALA 

Colour — Red  Asana — Pratyalidha 

Arms — Four 

Only  one  Sadhana  in  the  Sadhanamala  is  devoted  to  the  worship 
of  Mahabala-  a  fierce  emanation  of  the  Dhyani  Buddha  Amitabha 
The  Dhyana  is  given  below  : 

"Mahabalarh  ekamukharh  caturbhujarh  sarvangaraktam  urdhva- 
pingalasarpavabaddhakesarh  daksinabhujabhyarh  sitadanda-sitacamara- 
dhararh  vamabhujabhyarh  vandanabhinaya-sapasatarjamkararh  \yaghra- 
carmanivasanarh  sarpabharanarh  pratyalldharh  damstrakaralavadanam 
suryamandalaprabhumalinarh  Amitabhamukutinarh  dhyatva..." 

Sadhanamala.  p.  507. 

'The  worshipper  should  think  himself  as  Mahabala  with  one 
face,  four  arms  and  red  complexion.  His  brown  hair  rises  upwards 
and  is  tied  by  a  snake.  He  carries  in  his  two  right  hands  the  white 
staff  and  the  chowrit  while  the  two  left  show  the  mudra  of  bowing 
and  the  raised  index  finger.  He  is  clad  in  tiger-skin,  wears  ornaments 
of  snakes  and  stands  in  the  Pratyalidha  attitude  His  face  looks 
terrible  with  bare  fangs  and  he  is  bright  like  the  orb  of  the  sun.  He 
holds  the  effigy  of  Amitabha  on  the  crown". 

Two  statuettes  of  Mahabala  are  known  to  the  Chinese  collection 
at  Peiping  l . 


Clark-    TLPtII,pp.  49,  217. 
19 


146  BUDDHIST  ICONOGRAPHY 

2.    SAPTASATIKA  HAYAGRIVA 

Colour— Red  Symbols — Vajra  and  Danda 

Special  Feature — Horse-head 

I  Hayagriva  has  several  other  forms  and  these  will  be  described  at 
their  appropriate  places.  One  of  these  forms  is  said  to  bear  the  effigy 
of  Amitabha  on  its  crown  This  particular  form  of  Hayagriva,  therefore, 
should  refer  to  the  spiritual  son  of  Amitabha  with  the  red  colour  and 
the  Samadhi  mudra,  The  present  Sadhana  describing  his  form 
states  in  the  colophon  that  it  is  restored  from  the  Saptasatika  Kalpa. 
This  particular  form  of  Hayagriva,  therefore,  is  designated  as  the 
Saptasatika  Hayagriva.  \The  Dhyana  contained  in  the  Sadhana  is 
given  below  : 

"Raktavarnarh  mahabhayanakarh  trinetrarh  kapilasmasruraudrarh 
brhadudararh  damstrakaraimarh  dantausthakapalamahnarh  jatamuku- 
tinarh  Amitabhasiraskarh,  Dvitlyamukharh  bhimabhayanakarh  nilarh 
hayananarh  hihikaranadinarh  Brahmandasikharakrantarh  dvitlyena 
bhavagraparyantarh  astanagopetarh  kharvavamanakararh  vyaghrcarma- 
nlvasanarh  sarvalankarabhusitarh  sakaladevasurarh  tarjayantarh  grhita- 
vajradandarh...vicintayet".  Sadhanamala,  p.  509* 

V'The  worshipper  should  conceive  himself  as  (SaptasatikaJHayagnva) 
of  red  complexion,  who  is  t erFi BIy  a w e ^inspirTng ,  with  three-eyes, 
and  a  brown  beard.  He  is  angry  and  has  protruding  belly.  His  face 
appears  terrible  with  bare  fangs  ;  he  wears  a  garland  of  skulls  with 
teeth  and  lips,  is  crowned  with  his  Jata  and  the  figure  of  Amitabha. 
His  second  face  is  distorted  like  that  of  a  horse,  which  is  blue  in 
colour  and  neighs  incessantly.  He  tramples  on  the  top  of  the  wqrld 
with  one  leg  and  the  bottom  of  the  world  with  the  other.  He  wears 
ornaments  of  eight  serpents,  is  short  and  dwarfish,  is  clad  in  tiger- 
skin  and  decked  in  all  ornaments.  He  threatens  all  the  gods  and 
Asuras,  and  holds  the  Vajra  and  the  staff  (in  his  two  hands)". 

It  may  be  noticed  that  the  Dhyana  is  not  clear  about  the  number 
of  hands  and  faces  ;  but  it  seems  from  the  description  that  Hayagriva 
is  endowed  with  a  principal  face,  terrible  in  appearance,  over  which 
there  is  the  horse's  head.  This  horse's  head  over  the  principal  face, 
is  found  only  in  case  of  Hayagriva,  and  distinguishes  him  from  all 
other  Buddhist  deities.  But  when,  as  a  minor  god,  he  accompanies 
others,  the  horse's  head  is  not  seen  as  a  rule.  In  such  cases,  the 
Danda  or  the  staff  serves  as  the  identification  mark.  From  the 
Dhyana  it  also  appears  that  he  is  two-armed  and  carries  the  Vajra 
and  the  Danda,  the  Vajra  being  generally  held  in  the  right  hand,  while 


EMANATIONS  OF  AMITABHA  147 

the  Danda  is  carried  in  the  left.  About  the  name,  however,  the 
colophon  is  certain,  and  it  asserts  that  this  Sadhana  has  been  restored 
from  the  Saptasatika  Kalpa,  that  is  to  say,  a  ritual  work  consisting  of 
letters  that  can  make  up  seven  hundred  verses  in  the  Anuscubh  metre. 

Images  of  Hayagriva  are  found  in  Tibet  J  and  China  -. 


The  female  divinities  that  emanate  from  the  Dhyani  Buddha 
Amitabha  are  three  in  number,  the  most  important  and  popular  among 
them  being  Kurukulla,  to  whose  worship  no  less  than  fourteen 
Sadhanas  are  devoted  in  the  Sadhanamala.  Two  Sadhanas  are  devoted 
to  Bhrkuti  and  one  Sadhana  only  to  Mahasitavati.  who  is  also  included 
in  the  list  of  the  Pancaraksa  deities  or  the  Five  Great  Protectresses. 
These  goddesses  as  a  rule  are  not  represented  in  stone  or  bronze  ; 
paintings,  however,  are  made  by  the  Nepalese  artists  even  in  modern 
times. 

3.    KURUKULLA 

She  is  one-faced  and  may  have  two,  four,  six  or  eight  arms.  When 
she  is  six  -armed,  she  bears  the  effigies  of  the  five  Dhyani  Buddhas 
on  her  crown.  When  two-armed,  she  is  called  Sukla  Kurukulla,  and 
when  she  is  four-armed  she  is  called  by  the  names  of  Tarodbhava 
Kurukulla,  Uddiyana  Kurukulla,  Hevajrakrama  Kurukulla  and  Kalpokta 
Kurukulla. 

Kurukulla  is  said  to  confer  success  in  the  Tantric  rite  of  Vasikarana 
or  the  rite  of  enchanting  men,  women,  ministers,  even  kings.  Some 
of  the  Sadhanas  contain  many  interesting  methods  of  casting  spells 
on  different  people.  The  mantra  of  Kurukulla  is 


Hum  Hnh  Svaha".  When  this  mantra  is  muttered  ten  thousand 
times,  mi  merilffe~~T?ewitched.  Thirty  thousand  times  would  prove 
sufficient  to  subdue  a  minister,  but  the  subjugation  of  a  king  requires 
no  less  than  a  lakh.  She  can  even  confer  on  her  devotees  the  power 
of  subduing  all  ministers  and  kings. 

Images  of  Kurukulla  are  found  in  Tibet  ix  and  China  4  and  she  is 
very  popular  in  these  countries.  The  different  forms  of  Kuiukulla  as 
available  in  the  Sadhanamala  are  dealt  with  in  the  following  pages. 

).  Gordon  :  ITL,  pp.  90,  93  ;  Getty  :  GNB,  p.  163  as  Hayagriva. 

2.  Clark  :  TLP,  II,  pp.  59,  164,  172,  198  under  the  title  of  Hayagriva. 

3.  Getty  :  GNB,  pp.  126,  127. 

4.  Clark  :  TLP,  II,  105,  239,    Also  Gordon  ;  ITL,  p.  75. 


148  BUDDHIST  ICONOGRAPHY 

(1)    SUKLA  KURUKULLA 

Colour — White  Symbols — Rosary  and  the  Bowl  of  Lotus 

Vahana — Animal        Asana— Vajraparyahka 

Only  one  Sadhana  in  the  Sadhanamala  states  the  method  whereby 
she  should  be  propitiated.  The  Dhyana  contained  therein  is  a  long 
one  and  runs  as  follows  : 

"Atmanam  Bhagavatlrh  aksasutrotpalamrtakundim  savyavasavya- 
panibhyam  dadhanam,  trinetram  Padmadhrkpramukhaih  sarva-Tatha- 
gataih  Vmadisodasadevlbhir-abhisiktam  Amitabha-virajitananapuspo- 
pasobhitajatamukutam  srhgaradirasopetam,  kincit-savyapanipallava- 
sthaksasutramalokamanam,  ksirambhodhisvetavarnabjastham-amrtafxko* 
pari  sattvaparyahkasanastham,  kahkana^keyura-kundala-nupuramukta- 
haradivyavastradivibhusitam  nllanantabaddhakeslm  piyusavarna-Vasu- 
kikrtaharam,  rakta-Taksakakitakarnograkundalam,  durvasyama-Kar- 
kkotakakrtayajnopavltam,  sukla-Padmanagendrakrtaharam,  mrnalavar- 
na-Mahapadmakrtanupuram,  pita-Sankhapalakrtakankanam,  dhuma 
bhravat-Kulikakrtakeyuram,  subhravarnam  sravadamrtavigraharh  karu- 
nardracittam  bhavayet. 

Sukla-Kurukulla'Sadhanam".  Sadhanamala,  pp.  362-363 

"The  worshipper  should  think  himself  as  the  goddess  (Kurukulla), 
who  carries  the  rosary  and  the  cup  of  Utpala  full  of  nectar  in  the 
right  and  left  hands  respectively.  She  is  three- eyed  and  is  offered 
bathing  water  by  (the  Bodhisattvas)  Padmapani  and  others,  by  all  the 
Tathagatas  and  the  sixteen  damsels  beginning  with  Vina.  She  wears 
the  Jatamukuta  which  is  decorated  with  various  flowers  and  the 
miniature  figure  of  Amhabha.  She  displays  the  sentiment  of  passion- 
ate love,  and  other  sentiments,  and  turns  slightly  to  have  a  look  at  the 
rosary  which  she  carries  in  her  leaf-like  hand.  She  sits  on  an  animal 
and  rests  on  the  nectar- like  lap  of  the  white  lotus,  that  rises  from 
the  ocean  of  milk.  She  is  decked  in  bracelets,  armlets,  ear-rings, 
anklets,  pearl-necklace,  and  is  clad  in  celestial  garments.  Her  hair 
is  tied  up  by  the  serpent  Ananta  of  blue  colour,  her  necklace  is  formed 
by  the  milk-coloured  Vasuki,  and  her  prominent  ear-ornament 
(Kundala)  by  red  Taksaka,  her  sacred  thread  is  the  green  Karkkotaka, 
her  girdle  is  the  white  Padma  the  lord  of  serpents,  her  Nupura  (anklet) 
is  the  serpent  Mahapadma  of  the  colour  of  the  lotus  stalk,  her 
bracelet  is  the  yellow  Sahkhapala,  her  armlet  is  Kulika  of  the  colour 
of  smoky  clouds.  She  is  white  in  colour,  and  seems  to  diffuse  nectar. 
She  possesses  a  heart  which  is  melting  with  compassion." 


EMANATIONS  OF  AMITABHA  149 

This  lengthy  description  is  sufficient  to  give  one  a  vivid  picture 
of  the  form  of  Sukla-Kurukulla,  which  has  many  features  in  common 
with  the  other  varieties  to  be  described  briefly  hereafter.  It  is  not 
necessary  to  quote  and  translate  all  the  Dhyanas  given  in  the  Sadhana- 
mala,  because  that  would  only  serve  to  increase  the  bulk  of  the 
book  unnecessarily. 

(II)    TARODBHAVA    KURUKULLA 

Colour — Red  Arms — Four 

Asana — Vajraparyanka       Vahana — Kamadeva  with  wife  on  Rahu 

Five  Sadhanas  differing  but  slightly  from  one  another  describe  this 
form  of  Kurukulla  designated  as  Tarodbhava  Kuiukulla  in  the 
Sadhanas  According  to  the  information  supplied  by  the  Sadhanas, 
Tarodbhava  is  red  in  colour  with  red  garments,  red  ornaments  and 
the  seat  of  a  red  lotus.  She  has  four  arms.  The  two  left  hands 
show  the  Abhaya  mudra  and  the  arrow,  and  the  two  right  carry 
the  bow  and  the  red  lotus.  She  sits  in  the  Vajraparyanka  attitude 
and  under  the  seat  appear  Kamadeva  and  his  wife  riding  on  the 
demon  Rahu.  She  has  a  red  aureole  behind  her,  she  wears  the  effigy 
of  Amitabha  on  the  crown,  and  resides  in  the  Kurukulla  mountain. 
She  is  in  the  fulness  of  youth  and  displays  amorous  sentiments. 
Sometimes  she  is  seen  charging  a  flowery  arrow  on  the  flowery  bow, 
ready  to  strike. 

Fig.  121  illustrates  a  recent  Nepalese  drawing  of  the  deity. 

(Ill)    UDDIYANA  KURUKULLA 

Appearance — Terrible  Colour — Red 

Asana — Ardhaparyahka  Vahana — Corpse 

Arms — Four 

This  form  of  Kurukulla  is  called  in  Sadhanas  Uddiyana  Kurukulla 
or  Kurukulla  as  worshiped  in  Uddiyana  (mod.  Vajrajogini).  This  form 
of  the  goddess  looks  rather  fierce,  with  the  garland  of  heads,  the  five 
skulls  on  the  head,  protruding  teeth  and  tongue,  garments  of  tiger-skin, 
and  brown  hair  rising  above  her  head  in  the  shape  of  a  flame.  Her  eyes, 
red,  round  and  moving,  are  three  in  number.  She  is  four-armed  ;  the 
principal  pair  of  hands  is  engaged  in  drawing  to  the  full  the  flowery 
bow  charged  with  an  arrow  of  red  lotus,  while  the  second  pair  holds  the 
goad  of  flowers  and  the  red  lotus..  She  is  red  in  colour  and  sits  in  the 
Ardhaparyahka  attitude  on  a  corpse. 

Fig.  122  illustrates  one  of  her  statuettes  found  in  Peiping.  Here  the 
Vahana  of  corpse  is  present. 


150  BUDDHIST  ICONOGRAPHY 

( IV  )    ASTABHUJA-KURUKULLA 
Arms — Eight  Colour — Red 

Asana — Vairaparyahka         Mudra — Trailokyavijaya 

As  has  already  been  pointed  out,  Kurukulla  may  have  another  form 
with  eight  arms  which  is  described  in  the  only  Sadhana  devoted  to  her 
worship.  This  Sadhana  is  attributted  in  the  colophon  to  the  great 
Siddhacaryya  Indrabhuti,  who  flourished  about  700  A.  D.  and  who  had 
a  daughter  even  more  illustrious  than  himself,  Laksmmkara  by  name, 
well-versed  in  the  doctrines  of  both  Vajrayana  and  Sahajayana.  The 
goddess  described  in  this  Sadhana  is  not  terrible  like  the  six-armed 
Mayajala  Kurukulla  or  the  four-armed  Uddiyana  Kurukulla,  but  is 
mild,  youthful  and  compassionate  The  most  important  feature  of  the 
Sadhana  us  that  it  gives  the  description  of  a  complete  Mandala  which 
comprises  the  principal  goddess  and  twelve  surrounding  divinities.  For 
a  better  understanding  of  the  form  of  this  goddess  and  of  the  consti- 
tution of  the  Mandala,  it  is  desirable  that  the  Dhyana  should  be  quoted 
in  extenso  and  translated : — 

"Kurukullam  Bhagavatim  astabhujam  raktavarnam  raktastadala- 
padmasuryye  Vajraparyankanisannarh  kutagaramadh^anivasinirii  pra- 
thamakaradvayena  Trailokyavijayamudradharam,  avasistadaksinakaraih 
ankusarh  akarnapuritasaram  varadamudram  dadhanam.  parisistavama- 
bhujaih  pasam  capam  utpalam  dadhanam,  sakalalankaravatlm 
bhavayet. 

Purvadale  Prasannataram,  daks  nadale  Nispannataram,  pascimadale 
Jayataram,  uttaradale  Karnataram,  aisanadale  Cundam,  agneyadale 
Aparajitam,  nairrtyadale  Pradipataram,  vayavyadale  Gaurltarafica 
dhyayat.  Etasca  sarvah  raktavarnah  Panca-Tathagatamukuta  vajra 
paryahkanisanna  daksinabhujabhyam  varadamudra-akamapurita'Sara- 
dhara.  vamabhujabhyam  utpalacapadharah. 

Purvadvare  Vajra vetallrh  lambodaram  vikrtamukhim  raktavarnam 
Aksobhyamukutam,  daksinahastabhyarh  tarjany-ankusadharam,  vama* 
karabhyam  vajraghantapasadharam 

Daksinad\'are  Aparajitam  pltavarnam  Ratnasambhavamukutam  dak- 
sinahastabhyam  dandahkusadharam,  vamahastabhyam  ghantapasa- 
dharam. 

Pascimadvare  Ekajatam  krsnavarnam  urdhvakesam  lambodaram 
dantavastabdhaustham  Amitabamukutam,  daksmakarabhyam  vajrahk- 
sadharam  vamakarabhyam  ghantapasadharam. 

Uttaradvare  VajragSndhanm  kanakasyamarii  Amoghasiddhimukutam 
vikrtamukhim  lambodaram,  daksinabhujabhyam  khadgankusadharaih 


EMANATIONS  OF  AMITABHA  151 

vamabhujabhyarh  ghantapasadharam  vicintayet. 

Etascatasra  alldhapadasthah"  Sadhanamala,  pp.  351-352 

"The  worshipper  should  think  himself  as  goddess  Kurukulla,  who 
is  eight-armed,  red  in  colour,  sits  in  the  Vajraparyahka  attitude,  on  the 
orb  of  the  sun  over  the  lotus  with  eight  petals  and  resides  in  the 
sanctum  ;  she  displays  the  Trailokyavijayamudra  in  her  first  pair  of 
hands,  and  shows  in  the  other  right  hands,  ahkusa,  the  arrow  drawn 
up  to  the  ear  and  the  Varada  pose,  In  the  remaining  left  hands  she  holds 
the  noose,  the  bow  and  the  Utpala  ;  she  is  decked  in  all  kinds  of 
ornaments. 

On  the  east  petal  is  Prasannatara,  on  the  south  is  Nispannatara,  on 
the  west  Jayatara,  on  the  north  Karnatara  ;  on  the  north-east  petal 
is  Cunda,  on  the  east  Aparajita,  on  the  south-west  Pradlpatara,  and  on 
the  north-west  is  Gauritara.  All  these  deities  have  red  colour  and  the 
five  Dhyani  Buddhas  on  their  crowns.  They  sit  in  the  Vajraparyahka 
attitude  and  show  in  the  two  right  hands  the  boon  and  the  arrow 
drawn  up  to  the  ear,  and  in  the  two  left  hands  the  Utpala  and  the  bow. 

In  the  eastern  gate  is  Vjijravetali,  who  has  a  protruding  belly,  distort- 
ted  face,  red  complexion,  the  effigy  of  Aksobhya  on  her  crown,  and 
carries  in  the  two  right  hands  the  Tarjani  and  the  goad,  and  in  the  two 
left  the  Vajraghanta  and  the  noose. 

In  the  southern  gate  is  Aparajita,  who  is  yellow  in  colour  and  has 
the  effigy  of  Ratnasambhava  on  her  crown  ;  she  carries  in  her  two  right 
hands  the  staff  and  the  goad,  and  in  the  two  left  the  bell  and  the  noose. 

In  the  western  gate  is  Ekajata,  who  is  blue  in  colour  with  hair  rising 
upwards  over  head,  and  a  protruding  belly  ;  she  bites  her  lips  with 
her  teeth,  bears  the  image  of  Amitabha  on  her  crown  and  carries  in 
her  two  right  hands  the  Vajra  and  the  goad,  and  in  the  two  left  the 
bell  and  the  noose. 

In  the  northern  gate  is  Vajragandhari,  golden  in  complexion,  who 
bears  the  image  of  Amoghasiddhi  on  her  crown,  has  a  distorted  face 
and  portruding  belly,  and  carries  in  her  two  right  hands  the  sword  and 
the  goad,  and  in  the  two  left  the  bell  and  the  noose. 

All  these  four  goddesses  stand  in  the  Alidha  attitude" 

(V)    MAYAjALAKRAMA  KURUKULLA 

Asana — Vajraparyanka  Arms — Six 

Colour—Red 

Another  form  of  Kurukulla  is  known  as  Mayajalakrama  Kurukulla 
since  the  Sadhana  describing  it  is  said  to  have  been  restored  from 


152  BUDDHIST  ICONOGRAPHY 

the  now  lost  Mayajala  Tantra  by  the  Tantric  author  Krsnacarya  l. 
This  form  of  Kurukulla  is  six-armed.  In  accordance  with  the  Sadhana 
she  sits  in  the  Vajraparyafika  attitude,  on  the  sun  over  the  red  lotus 
of  eight  petals.  She  is  red  in  colour  and  is  clad  in  red  garments. 
She  exhibits  the  Trailokyavijaya  mudra  in  the  first  pair  of  hands, 
shows  the  Abhaya  mudra  and  the  sprout  of  a  white  Kunda  flower 
in  the  second,  and  the  rosary  and  the  Kamandalu  in  the  third.  She 
bears  the  images  of  the  five  Dhyani  Buddhas  on  the  crown,  and  sits 
on  the  back  of  the  serpent  Taksaka.  She  has  another  form  with  six 
arms,  which  is  not  expressly  called  the  Mayajala  Kurukulla,  and  is 
described  in  another  Sadhana.  According  to  that  Sadhana,  she 
exhibits  the  Trailokyavijaya  mudra  in  the  first  pair  of  hands,  and 
carries  Ankusa  and  the  red  lotus  in  the  second  pair,  and  the  full- 
drawn  bow  charged  with  an  arrow  in  the  third.  Images  of  Kurukulla 
are  rare. 

4.     BHRKUTf 

Colour — Yellow  Arms — Four 

Bhrkuti  is  another  goddess  emanating  from  the  Dhyani  Buddha, 
Amitabha  of  red  colour.  She  is  already  familiar  as  a  companion  of 
Avalokitesvara  as  a  minor  goddess.  When  she  accompanies  Khasar- 
pana  she  is  yellow  in  colour  and  four^armed.  She  carries  in  her 
two  left  hands  the  Tridandi  and  the  Kamandalu.  One  of  the  two 
right  hands  is  raised  in  the  attitude  of  bowing,  while  the  other 
carries  the  rosary.  Bhrkuti  is  also  worshipped  as  a  principal  goddess, 
and  two  Sadhanas  in  the  Sadhanamala  are  devoted  to  her  worship. 
She  is  described  in  the  following  words  : 

"Caturbhujaikamukhirh     pltarh  trinetrarh    navayauvanarh    Varada- 
ksasutradharadaksinakaram  tridandikamandaludhaiavamakararh  Amita- 
bhamudritam  padmacandrasanastharh   Bhagavatlrh      dhyatva... 
Bhrkutisadhanarh.'1  Sadhanamala,  p  341. 

"The  goddess  Bhrkuti  should  be  conceived  as  four-armed,  one- 
faced  and  yellow  in  colour,  three-eyed  and  as  blooming  with  youth. 
She  shows  the  Varada  mudra  and  the  rosary  in  her  two  right  hands, 
and  carries  the  Tridandi  and  the  Kamandalu  in  the  two  left.  Her 
crown  is  stamped  with  the  effigy  of  Amitabha.  She  sits  on  the  orb 
of  the  moon  over  a  lotus.  Thus  meditating.,.." 

Another  Sadhana  adds  the  information  that  she  should  be  peaceful 
in  appearance  and  should  wear  a  crown  of  matted  hair.  Images  of 

1.    Sadhana  No.  181,  Sadhanamala  p.  372. 


EMANATIONS  OF  AMITABHA  153 

Bhrkuti  are  rare,  but  they  are   known  in  Tibet  ]  and  China  2.     Fig.  123 
illustrates  one  of  the  Peiping  images. 

5.     MAHASITAVATl. 

Colour-  Red  Arms — Four 

Asana— Ardhaparyanka 

All  the  five  goddesses  constituting  the  Pancaraksa  group  are  said  to 
emanate  from  one  or  another  of  the  Dhyani  Ruddhas.  Mahasltavatl  is 
affiliated  to  her  parental  Dhyani  Buddha  Amitabha.  The  short  Sadhana 
describing  her  form  is  as  follows  : 

"Mahasita  (sicsita)  vati  caturbhujaikamukhi  rakta  daksinabhujadvaye 
aksasutiavaradavati  vamabhujadvaye  vajrankusahrtpradesasthapustaka- 
van  Jlrhbija  Amitabhamukutl  ardhaparyahkasthita  nanalahkaravatl 
suryasanaprabha  ceti1'.  Sadhanamala,  p.  401 . 

"Mahasitavati  js  four-armed,  one-faced,  and  red  in  colour. 
She  shows  in  her  two  right  hands  the  rosary  and  the  Varada  pose, 
and  in  her  two  left  hands  the  Vajra  and  the  Book  against  the  chest. 
She  originates  from  the  syllable  'Jim',  bears  the  effigy  of  Amitabha  on 
the  crown,  sits  in  the  Ardhaparyanka  attitude,  and  is  decked  in  various 
ornaments.  She  sits  on  the  orb  of  the  sun  ynd  glows  like  the  sun". 

Images  of  this  goddess  are  found  in  Tibet  "  and  China  4 . 


1.  Getty:  GNB,  pp,  124-125. 

2.  Clark:  TLP,  II,  pp.  160t  171,  288. 

3.  Getty  :  GNB,  p,  139. 

4.  Clark  :  TLP,  II.  pp,  206  and  275  under  the  title  of  SttavatL 
20 


CHAPTER  V 

EMANATIONS  OF  AKSOBHYA 
I.  GODS 

The  number  of  deities  emanating  from  the  Dhyani  Buddha  Akso- 
bhya  is  quite  large,  larger  than  that  of  the  emanations  of  any  other 
Dhyani  Buddha.  The  blue  colour  of  Aksobhya  is  associated  with 
the  terrible  deities  in  the  Sadhanamala  and  with  the  gruesome  rites 
in  the  Tantras,  and  the  deities  emanating  from  this  Dhyani  Buddha 
are  generally  of  blue  colour  and  terrible  in  character  both  in  deed 
and  in  appearance.  With  the  exception  of  Jambhala,  the  God  of 
Wealth,  all  the  male  emanations  of  Aksobhya  have  a  terrible  appear- 
ance  with  distorted  face,  bare  fangs,  three  blood-shot  eyes,  protruding 
tongue,  garland  of  severed  heads  and  skulls,  tiger-skin  and  ornaments 
of  snake. 

Amongst  the  deities  emanating  from  the  Dhyani  Buddha  Aksobhya 
Heruka  stands  pre-eminent.  Heruka  and  his  yab-yum  form  Hevajra 
are  the  chief  gods  in  this  group  and  they  have  numerous  forms, 
many  with  different  names.  For  the  sake  of  clarity  and  convenience 
these  forms  have  been  separated  for  treatment,  especially  when  a 
characteristic  name  is  supplied  by  the  Sadhanas  to  such  forms.  The  Four 
Guardians  of  Gates  treated  later  under  the  Chapter :  'Collective 
Deities'  are  of  fierce  appearance  and  figure  prominently  amongst 
the  offsprings  of  Aksobhya.  The  deities  coming  under  the  Vajra  Family 
of  Aksobhya  are  described  below  one  by  one. 

1.    CANDAROSANA. 

Colour — Yellow  Arms — Two 

Symbols — Sword  and  Tarjanipasa 

Candarosana  is  also  called  Mahacandarosana,  Candamaharosana 
and  Acala.  Four  Sadhanas  are  devoted  to  his  worship  and  he  is 
always  represented  in  yab-yum.  Prabhakarakirti  is  said  to  be  the 
author  of  one  of  the  Sadhanas  the  major  portion  of  which  is  ia  verse. 
Another  Dhyana  describing  the  god  runs  as  follows  :  •  •  . 

"£rI-Candamaharosanam  Bhagavantam  atasipuspasaftkasamLAcala- 
paranamanam  dvft>htrjaih  kekaraksaih  damstravikliralamahaghoravada- 
nam  ratnamaulinaih  damstraniplditadharam  mundamalasiraskam 


EMANATIONS  OF  AKSOBHYA  155 

araktacaksurdvayam  daksine  khadgadhararh  tarjampasahrdayasthavama- 
kararh  sitasarpayajnopavltarh  vyaghracarmanivasanam  nanaratnaviraci- 
tabharanarh  bhumilagnavamacaranam  isadunnatadaksinacaranam 
suryyaprabhamalinarh  atrnanarh  vicintya..  Aksobh^amukutinarh 
dhyayat."  Sadhanamala,  p.  172. 

"The  worshipper  should  think  himself  as  Sri-Candamaharosana, 
whose  colour  is  like  that  of  the  Atasi  flower  and  whose  second  name 
is  Acala.  He  is  one-faced,  two-armed  and  is  squint-eyed.  His  face 
appears  terrible  with  bare  fangs.  He  wears  a  jewelled  head-dress, 
bites  his  lips  and  wears  on  his  crown  a  garland  of  severed  heads. 
His  eyes  are  slightly  red,  and  he  carries  the  sword  in  his  right  hand 
and  the  noose  round  the  raised  index  finger  against  the  chest  in 
the  left.  His  sacred  thread  consists  of  a  white  snake  ;  he  is  clad  in 
tiger-skin  and  he  wears  jewels.  His  left  leg  touches  the  ground 
while  the  right  is  slightly  raised.  He  is  radiant  as  the  sun  and.. bears 
on  his  crown  the  effigy  of  Aksobhya.  Thus  the  god  should  be 
meditated  upon". 

It  should  be  noticed  that  the  Dhvana  is  silent  about  the  Sakti 
in  whose  embrace  the  god  should  remain  in  yab-yum,  but  if  the 
Buddhist  priests  are  to  be  believed  and  if  the  testimony  of  the 
Nepalese  Citrakaras  has  any  value,  it  must  be  assumed  that  Candaro* 
sana  is  always  represented  in  yab-yum  and  should  not  be  represented 
singly.  Candarosana  is  the  most  important  figure  in  the  celebrated 
Candamaharosana  Tantra  dedicated  to  his  worship.  His  worship 
is  always  performed  in  secret  and  the  god  is  kept  secluded  from 
public  gaze.  Even  if  there  be  a  bronze  image  it  is  practically  inacces- 
sible to  any  one  except  the  initiated. 

Fig.  124  illustrates  a  Nepalese  drawing  of  the  deity.  As  Acala  and 
Acala-Vajrapani  he  is  popular  in  Tibet  ' . 

2.     HERUKA 

Colour— Blue  Arms — Two 

Symbols — Vajra  and  Kapala         Variety — Single 

Heruka  is  one  of  the  most  popular  deities  of  the  Buddhist  pantheon 
and  a  regular  Tantra,  the  Heruka  Tantra,  is  devoted  to  his  worship. 
Heruka  is  worshipped  singly  as  well  as  in  yab-yum.  When  he  is 
in  yab-yum  he  is  generally  known  as  Hevajra  and  in  this  form  he 
is  popular  in  Tibet,  Many  of  his  forms  aie  described  in  the  Sadhana- 
mala in  its  numerous  Sadhanas,  arid  the  additional  ones  are  derived 
from  the  Nispannayogavall  of  Abhayakara  Gupta. 

1.    Getty:    GNB,  pp.  52  and  170.  ~ 


156  -BUDDHIST  ICONOGRAPHY 

In    the   Sadhanamala     the  worship  of  Heruka  is  said  to  confer 
Buddhahood  on  his  worshippers,   and  he  is  said  to  destroy   all  the 
Maras   (mischievous   beings)   of  the  world*      A  Dhyana   in  verse  in 
the  Sadhanamala  describes  his  form  in  the  following  words  ; 
Savastharfa  ardhaparyahkam  naracarmasuvasasam     I 
Bhasmoddhulitagatranca   sphuradvajranca  daksinam     II 
Calatpatakakhatvahgam  vame  raktakarotakam     I 
Satardbamundamalabhih   krtaharamanoramam     II 
Isaddamstrakaralasyam  raktanetrarii  vilasinam     1 
Pihgorddhvakesam  Aksobhyamukutam  karnakundalam     II 
AsthyabharanavSobham  tu  siralvpancakapalakam     I 
Buddhatvadayinam  dhyayat  jaganmaranivaranarh     II 

Sadhanamala,  p.  473. 

'The  worshipper  should  conceive  himself  as  the  god  (Heruka)  who 
stands  on  a  corpse  in  the  Ardhaparyahka  attitude.  He  is  well  clad  in 
human  skin  and  his  body  is  besmeared  with  ashes.  He  wields  the  Vajra 
in  the  right  hand  and  from  his  left  shoulder  hangs  the  Khatvahga  with 
a  flowing  banner,  like  a  sacred  thread.  He  carries  in  his  left  hand 
the  Kapala  full  of  blood.  His  necklace  is  beautified  by  a  chain  of 
half-a- hundred  severed  heads.  His  face  is  slightly  distorted  with  bare 
fangs  and  blood-shot  eyes,  His  brown  hair  rises  upwards  and  forms 
into  a  crown  which  bears  the  effigy  of  Aksobhya.  He  wears  a  Kundala 
and  is  decked  in  ornaments  of  bones.  His  head  is  beautified  by  five 
skulls.  He  bestows  Buddhahood  and  protects  the  world  from  the 
Maras  (wicked  beings)'5. 

In  another  Sadhana  for  the  worship  of  this  particular  kind  of 
Heruka  the  Khatvahga  is  described  as  being  marked  with  a  Vajra  of 
five  thongs  and  decorated  with  a  banner  with  jingling  bells,  human 
heads  and  double  lotus,  the  lower  part  of  the  Khatvahga  resembling 
the  Vajra  with  one  thong.  The  Sadhana  does  not  mention  the  number 
of  heads  in  the  necklace,  but  says  simply  that  they  are  strung  with 
guts.  His  left  leg  rests  on  the  double  lotus  (and  not  on  the  corpse) 
while  the  right  is  placed  on  the  left  thigh  in  a  dancing  attitude. 

The  image  (  Fig.  125  )  discovered  by  Mr.  N.  K.  Bhattasali  and 
deposited  in  the  Dacca  Museum,  agrees  in  all  details  with  the  descrip- 
tion given  above.  Though  the  hands  are  broken  it  can  yet  be  discerned 
that  the  right  wielded  the  Vajra  and  the  left  carried  the  Kapala  against 
the  chest.  The  attitude  in  which  he  stands  is  called  the  dancing 
attitude  in  Ardhaparyahka.  His  head-dress  in  decorated  with  five 
skulls  and  the  effigy  of  Aksobhya.  The  Khatvahga  has  an  overflowing 
banner  attached  to  it,  and  at  the  end  of  the  banner  small  bells  can 
be  seen. 


EMANATIONS  OF  AKSOBHYA  157 

3.    HEVAJRA. 

In  the  Hevajra  Mandala  of  the  Nispannayogavall,  Heruka  ij>  the 
principal  deity,  thus  showing  that  their  is  only  a  very  thin  line  of 
demarcation  between  the  two,  Heruka  and  Hevajra ,  When  Heruka 
is  accompanied  with  his  Prajna,  he  begets  the  name  of  Hevajra.  In 
the  Mandala  no  less  than  four  distinct  forms  of  Hevajra  are  described. 
In  all  these  Hevajra  is  accompanied  with  his  Sakti  whose  name  differs 
according  to  the  numbers  of  his  hands. 

(  i  )     Two-Armed 
Colour — Blue  Face— One 

Arms — Two  Prajna — Nairatma 

When  two-armed,  Heruka  gets  the  name  of  Trailokyaksepa  and  his 
form  is  described  in  the  following  words  : 

"Trailokyaksepah  krsno  Ardhaparyanki  ..ekamukho  Jvibhujo 
vajrahkitaraktapurnakapalabhrd-vamakarakrodita... Nairatma..  Vajrodd- 
andasavyabhujah."  NSP,  p.  14 

4 'Trailokyaksepa  (Heruka)  is  blue  in  colour  and  dances  m  the 
Ardhaparyahka  attitude... He  is  one-faced  and  two-armed.  With  the 
left  hand  carrying  the  skull  cup,  full  of  blood  and  marked  with  a 
Vajra,  he  embraces  his  Prajna  Nairatma... The  right  holding  the  Vajra 
is  raised*". 

The  same  form  is  again  described  in  the  Sadhanamala  which  gives 
the  additional  information  that  the  Sakti  carries  the  Kartri  in  the  right 
hand  and  the  Kapala  in  the  left  ] . 

(n)     Four — Armed, 
Colour — Blue  Face — One 

Arms — Four  Prajna — Vajravarahi 

When  four-armed,  Hevajra  shows  all  the  characteristics  of  the  two- 
armed  variety  with  the  difference  that  here  the  Prajna  is  known  by  the 
name  of  VajravSrahi.  His  description  in  the  Nispannayogavall  is  short 
and  is  worded  thus  : 

"Athava  caturbhujo  dvibhujavat.  Aparabhujabhyam  savabha-Vajra- 
varahisamalingita  ityeva  visesah".  NSP,  p.  14 

"Or,  he  may  be  four-armed  and  appear  similar  to  the  two-armed 
form.  In  the  two  other  hands  he  embraces  his  Sakti  VajravarUhl  of 
his  own  creation.  This  is  the  only  difference". 

1.    Sadhanamala,  p.  462* 


15tt  BUDDHIST  ICONOGRAPHY 

In  the  Sadhanamala,  one  Sadhana  is  also  devoted  to  the  worship  of 
this  particular  form  of  Hevajra.  Here  also  Hevajra  is  four-armed  and 
is  embraced  by  his  Sakti  who  is  identical  with  him  in  all  respects/ 
Hevajra  carries  in  his  four  hands  the  blue  Vajra,  the  sword,  the  Khat> 
vahga  and  the  jewel.  The  Khatvanga  does  not  however  hang  from  his 
shoulder  but  is  carried  in  one  of  his  hands. 

(ill)    Six-Armed 

Colour — Blue  Face— Three 

Arms  -Six  Prajna — Vajrasrnkhala 

When  Hevyjra  is  six-armed  and  in  yab-yum  his  main  form  remains 
the  same,  with  the  difference  that  here  he  is  three-faced  and  six-armed, 
carrying  additional  symbols.  He  is  described  thus  : 

"Athava  Sadbhujah  krsnah  krsnasitaraktatrimukhah...Vamair-vajra' 
ghantam  dhanuh  kapalam  ca  dadhanah  savyair-vajram  banam  trisulam 
ca  vajravajraghantanvitahastabhyam  svabha-Vajrasrhkhalamalihgitah.  ' 

NSP.  p.  14. 

"Or,  he  (Hevajra)  may  be  six-armed  and  blue  in  colour.  The 
principal,  the  right  and  left  faces  show  blue,  white  and  red  colour.  In 
the  three  left  hand&  he  holds  the  bell  marked  with  a  Vajra,  the  bow 
and  the  skull-cup.  In  the  three  right  hands  he  carries  the  Vajra,  the 
arrow  and  the  trident.  He  embraces  with  the  two  hands  carrying  the 
Vajra  and  the  Ghanta  the  Prajna  Vajrasrhkhalaj^f  his  own  creation''. 


ColourVBlu 

Arms— Sixten  Prajna— Nairatma 

Legs — Hour 

The  fourth  type  of  Hevajra  according  to  Hevajra  Mandala  is  sixteen- 
armed  and  is  alike  in  appearance  with  the  three  other  forms  described 
before.  The  difference  lies  in  his  having  eight  faces  and  four  legs  ; 
with  his  four  legs  he  tramples  upon  four  Hindu  gods  instead  of 
standing  upon  a  corpse  as  in  the  three  others.  His  form  is  described 
rather  elaborately  in  the  Mandala  in  question  as  under  : 

"Caturtho  Hevajrah  sodasabhujo  Aksobhyamudrito  Nairatmasama 
pannah.  Kintvasya  catvaro  marah  praguktasavasthane.  Tatra  Skandha- 
maro  rupato  Brahma  pltah,  Klesamaro  Visnuh  krsno,  Mrtyumaro 
Mahesvarah  subhro,  Devaputramaro  Sakrah  gaurah.  Tesu  Bhagavan 
dvabhyam  Ardhaparyafikavan  aparabhyam  Alidhastha  iti  catuscaranah 
krsno astasyah.  Mukhantu  mulam  krsnaifa  hasat  savyam  suklam, 


EMANATIONS  OF  AKSOBHYA  ,  159 

vamam  raktam,  urddhvam  vikatadamstram  sesam  krsnani.  Daksina- 
bhujesu  vajram  khadgam  banam  cakram  casakam  trisulanvankusarh 
ca  ;  vamesu  ghantam,  padmam,  dhanur-udyatakhatvahgam,  kapalam, 
tarjanipasam  ca."  (NSP,  pp.  14-15). 

"Hevajra  of  the  fourth*  class  is  sixteen-armed  and  bears  on  his 
crown  the  effigy  of  the  Dhyani  Buddha  Aksobhya.  He  embraces  his 
Sakti  Nairatma.  Instead  of  the  corpse  under  his  legs  as  aforesaid, 
he  has  four  Maras  under  his  four  legs.  The  first  is  Skandha  Mara  in 
the  form  of  Brahma  of  yellow  colour,  the  second  is  Klesa  Mara  in 
the  form  of  Visnu  of  blue  colour,  the  third  is  Mrtyu  Mara  in  the 
form  of  Mahesvara  of  white  colour,  and  the  fourth  is  Devaputra  Mara 
in  the  form  of  Sakra  of  white  colour.  On  them  the  four-legged  god 
stands  with  two  legs  arranged  in  Ardhaparyanka  and  two  others  in 
Alldha.  He  is  blue  in  colour  and  has  eight  faces.  The  principal 
face  is  blue,  the  right  has  a  smile  and  is  white,  the  left  is  red,  the 
fourth  is  on  the  top  of  his  head  with  distorted  teeth.  All  other 
faces  are  blue  in  colour.  In  the  right  hands  he  carries  1,  the  Vajra, 
2.  the  sword,  3.  the  arrow,  4-  the  discus,  5.  the  wine-glass,  6,  the 
staff,  7.  the  Tusula,  and  8.  the  goad.  In  the  left  hands  the  holds 
1.  the  bell,  2.  the  lotus,  3.  the  bow,  4.  the  raised  Khatvahga,  5.  the 
skull-cup,  6.  the  jewel,  7.  the  raised  index  finger  and  8.  the 
noose-..", 

Hevajra  is  popular  in  Tibet  ]  and  China  -. 

4.    BUDDHAKAPALA 
Arms— Four  Colour-  Blue 

Sakti — Citrasena        Asana — Dancing  in  Ardhaparyanka 

Only  one  Sadhana  gives  the  description  of  this  god,  who  is,  in  all 
probability,  another  form  of  Heruka.  The  Sadhana  says  that  when 
Heruka  is  embraced  by  Citrasena  he  gets  the  name  of  Buddhakapala, 
He  has  one  face  and  four  arms,  and  his  hands  hold  the  Khatvahga, 
the  Kapala,  the  Kartri  and  the  Damaru  ;  he  is  embraced  by  his  Prajna, 
Citrasena,  and  remains  in  yab-yum.  He  is  slightly  different  from  the 
four-armed  variety  of  Heruka  as  the  following  Dhyana  in  the  Sadhana 
will  show  : 

"Mahaviro  ghorasamharakarakah  mlavarno  mahavapuh  asthyabhara- 
nam-afdhaparyahkanrtyastham  mundamalavibhusitam  mukute  Akso* 
bhyadharinam  ekavaktram  caturbhujam,  vame  Khatvahgakapalam, 
daksine  kartridamarukam  Prajnalihgitam  ;  vame  Citrasena  matta 
nagna  muktakesi  sarvabhayarahita  devi." 

lr  -Getty  *  GNB,  142,  1431  "  A  Tibetan  image  is"  illustrated  in  Gorden  :  ITL,  p.  83. 
2.    TLP,  II,  p.  236.  •• 


160  BUDDHIST  ICONOGRAPHY 

Srimato  Buddhakapalasya  Sadhanam"      Sadhanamala,  pp.  501-502 

"The  worshipper  should  think  himself  as  (Buddhakapala)  who 
is  a  great  hero,  the  supreme  destroyer,  of  blue  complexion  and 
gigantic  stature.  He  has  ornaments  of  bones,  stands  in  Ardhapa- 
ryahka  in  a  dancing  attitude,  is  decked  in  garlands  of  heads, 
bears  the  effigy  of  Aksobhya  on  the  crown,  is  one-faced  and  four- 
armed.  He  carries  the  Khatvanga  and  the  Kapala  in  the  left 
hands  and  the  Kartri  and  the  Damaru  in  the  right,  and  is  embra- 
ced in  the  left  by  the  Prajna,  Citrasena  by  name,  who  is  intoxi- 
cated, nude,  and  fearless,  Thus  meditating..  " 

The  same  Sadhana  later  on  gives  the  details  of  the  Mandala, 
and  goes  on  to  say  that  Buddhakapala  is  surrounded  by  twenty  - 
four  goddesses  arranged  in  three  circles.  The  first  circle  has 
Sumalim  (blue)  in  the  east,  Kapalim  (yellow)  in  the  noith,  Bhima 
(green)  in  the  west  and  Duija>a  (white)  in  the  south.  The  next 
circle  has  Subhamekhala  (east),  Rupim  (north),  Jaya  (west)  and 
Kauven  (south)  ,  KaminI  (north-east),  Mahodadhi  (north-west) 
Karim  (south-west)  and  Marini  (south-east).  The  outermost  circle 
has  Bhimadarsana  (east)  Ajaya  (north),  Subha  (west)  OstarakI 
(south)  ,  Suraksmi  (north-east),  Vikalaratri  (north-west),  Mahayasa 
(south-west)  and  Sundari  (south-east).  Besides  these,  there  are  the 
four  guardians  of  gates  :  Sundara  (east)  Subhaga  (north),  Priya- 
dar&ana  (west)  and  Nairatma  (south).  Excepting  the  four  deities 
of  the  innermost  circle,  all  the  goddesses  have  blue  colour  two 
arms,  one  face,  ornaments  of  bones,  brown  hair  rising  upwards 
but  no  garlands  of  heads.  They  carry  the  Kapala  in  the  left  and 
the  Kartri  in  the  right,  and  dance  in  the  Ardhaparyahka  attitude* 

Fig.  126  illustrates  a  Nepalese  drawing  of  the  principal  god  in  the 
embrace  of  his  Sakti  Citrasena  but  without  attendants.  Buddhakapala 
is  represented  in  the  Chinese  collection  at  Peiping  l.  He  is  also 
represented  singly  in  a  remarkable  statuette  in  the  Baroda  Museum. 
(Fig.  127). 

5.    SAMBARA 

(i)  Two-Armed 

Colour — Blue  Asana-— Alidha 

Vahana— Kalaratri        Symbols— Vajra  and  Ghanta 
Prajna — Vajravarahi 

One  Sadhana  only  in  the  Sadhanamala  describes  the  procedure  for 
the  worship  of  Sambara  who  is  only  another  form  of  Hevajra-  He  is 

1.    TLP,  II.  pp.  103,  237, 


EMANATIONS  OF  AKSOBHYA  161 

two-armed  and  one-faced,  and  bears  the  effigy  of  Aksobhya  on 
his  crown.  He  appears  terrible  with  his  garment  of  tiger-skin,  the 
garland  of  heads,  a  string  of  skulls  round  the  head,  three  eyes 
and  the  Alidha  attitude,  in  which  he  tramples,  upon  KalaratrL 
The  Dhyana  is  in  verse  and  describes  the  god  in  the  following  terms  : 

"Lalatasthakapalani  candrardham  murdhni  dharayet     I 
Sanmudra-mundamall  ca  visvavajri  trilocanah     II 
Alidhapadavinyaso     visvaksaravivartinim     I 
Sabhairavam     Kalaratrimarudho  vyaghracarmabhrt     II 
Aksobhyasekharah  kubjo  vajraghantajatanvitah     1 
Viro'sau  Vajravarahl  vajrasrkpurnakapalabhrt     II 
Khatvangamekhala  rakta  trmetra  mundamalim     I 
Pancamudra  muktakesl  digvastra  Buddhasekhara     II 

Dvibhuja-Sambaropadesah  samaptah  " 

Sadhanamala,  p.  504 

"The  worshipper  should  think  himself  as  Sambara  with  a  string 
of  skulls  over  his  forehead  and  the  crescent  moon  on  the  top. 
He  wears  the  six  auspicious  ornaments  and  a  necklace  of  heads. 
He  shows  the  Visvavajra  [on  his  head-dressj  and  is  three-eyed.  He 
stands  in  the  Alidha  attitude  and  originates  from  a  combination  of 
all  the  letters  of  the  alphabet.  He  trample**  upon  Bhairava  and 
Kalaratri  and  is  clad  in  tiger-skin.  He  shows  the  effigy  of  Aksobhya 
on  his  crown  and  is  blue  in  colour.  He  carries  the  Vajia  and  the 
Ghanta  ;  has  matted  hair,  displays  heroism  and  is  embraced  by  his 
Sakti  Vajravarahi  holding  the  Vajra  and  the  Kapala  full  of  blood. 
Her  girdle  is  the  Khatvahga,  her  colour  is  red  and  she  is  three-eyed, 
bhe  wears  a  garland  of  severed  heads,  is  endowed  with  the  five 
auspicious  symbols,  has  dishevelled  hair  and  no  garment.  She  shows 
the  image  of  Buddha  (Vairocana)  on  her  crown." 

Sambara  has  another  form  with  four  faces  and  twelve  arnii>  and  in 
this  form  he  is  mentioned  in  the  Nispann ay OE avail. 

(ii)  Twelve- Armed 
Colour — Blue  Faces     Four 

Arms — Twelve  Sakti—  Vajravarahl 

Sambara   is  the  principal  deity  in  the  Sambara   Mandala  of  the 
HispannayogavalL     The  Sakti  of  Sambara  is  Vajravarahl.   Sambara  thus 
* 


162  BUDDHIST  ICONOGRAPHY 

is  only   another  form  of  the  great  god  Heruka.     Here  he  is  four-faced 
and  twelve^armed.     The  description  is  quoted  below  in  brief  : 

**Bhagavan...BhairavakalaratryavalIdhacaranabhyam  akrantah  krsnah 
krsnaharitaraktapitapurvottaradi-caturmukhah...Dvadasabhujah  savajra- 
vajraghantabhujayugmalingita-Vajravarahlko  bhujabhyam...saraktaprasr> 
tagajacarmadharah  tadaparaih  damaru-parasu-kartri-trisulani  vibhrat, 
vamairwajrankitakhatvafiga-raktapuritakapalaih  vajrapasam  Brahmasi- 
rasca  navanatyarasarasih."  NSP,  P.  26 

"God  (Sambara)  ..stands  in  the  Alidha  posture  on  the  prostrate  forms 
of  Bhairava  and  Kalaratri.  He  is  blue  in  colour  and  his  four  faces  on 
the  east,  south,  west  and  north  are  blue,  green,  red  and  yellow  in 
colour..  He  is  twelve-armed.  With  the  two  principal  hands  carrying 
the  Vajra  and  Vajra-marked  bell,  he  embraces  his  Sakti  Vajravarahi. 
With  the  second  pair... he  carries  the  elephant  skin  from  which  blood 
trickles  down.  In  the  remaining  four  right  hands  he  holds  the  Damaru, 
the  axe,  the  Kartri  and  the  trident.  The  four  left  hands  show  the 
Vajra-marked  Khatvahga,  the  skull  cup  full  of  blood,  the  Vajra-marked 
noose  and  the  the  severed  head  of  Brahma... He  displays  in  full  the 
nine  dramatic  sentiments". 

The  parental  Dhyani  Buddha  of  Sambara  is  Aksobhya  and  that  of 
Vajravarahi  is  Vairocana  according  to  a  statement  contained  in  the 
aforesaid  Mandala  J. 

Sambara  is  popular  in  Tibet  2  and  China  •'. 

6.    SAPTAKSARA 
Faces — Three  Arms—  Six 

Asana — Alidha  Prajna — Vajravarahi 

This  variety  of  Hevajra  is  called  Saptaksara  or  'seven-syllabled' 
because  his  Mantra  consists  of  seven  syllables.  Like  Dvibhuja-Sambara 
mentioned  above,  he  is  also  embraced  by  Vajravarahi,  who  in  all 
respects  resembles  her  consort.  Like  Sambara  this  god  also  tramples 
upon  Kalaratri  and  holds  the  Visvavajra  on  the  crown.  He  has  also 
the  crescent  on  his  head,  is  endowed  with  the  six  suspicious  symbols, 
and  stands  in  the  Alidha  attitude  on  the  orb  of  the  sun*  He  has  three 
faces  of  blue,  yellow  and  green  colour  and  carries  the  Vajra,  the 
Ghanta  and  the  human  skin  in  the  three  left  hands  and  the  Kapala 
the  Khatvahga  and  the  TrisQla  in  the  three  right. 

1.  MSP,  p.  28. 

2.  Two  images  oi  Sambara  are  illustrated  in    A,  K.   Gordon :     ITL,   pp.   83,   84. 
See  also  Getty  :  GNB,  pp.  145.  150 

3.  As  Sambararaja  Buddha  he  is  mentioned  in  Clark  ;  TLP,  II,  pp.  80  and  90. 


EMANATIONS  OF  AKSOBHYA  163 

The  Sadhana  further  adds  that  on  each  of  the  six  spokes  of  the 
wheel  of  the  sun  on  which  the  god  stands  there  are  six  deities,  namely, 
(commencing  from  the  right)  Herukl,  Vajravarahi,  Ghoracandi,  Yajra- 
bhaskan,  Vajraraudri  and  Vajradakinl.  They  have  respectively  blue, 
yellow,  red,  green,  smoky  and  white  colour.  All  of  them  ha\e  dis- 
hevelled hair,  fierce  appearance,  three  eyes  and  the  quarters  as 
garments.  They  carry  the  resounding  Damaru  and  the  Ghanta  in  the 
first  pair  of  hands,  and  the  human  skin  in  the  other  pair.  They  stand  on 
the  orb  of  the  sun  placed  on  a  corpse.  Their  head-dresses  are  decora- 
ted  with  rows  of  skulls,  and  they  stand  in  the  Alidha  attitude. 

In  another  Sadhana  devoted  to  the  worship  of  Saptaksara,  a  slight 
variation  is  noticed.  In  it,  it  is  said  that  the  god  carries,  in  the  first 
pair  of  hands,  engaged  in  embracing  the  Prajna,  the  Vajra  and  the 
Ghanta  ;  m  the  second  pair,  the  human  skin  only,  and  in  the  third 
pair  the  Kapala  and  the  Trisula.  The  Khatvunga  hangs  from  his 
shoulder  as  usual.  Vajravarahi  is  identical  with  the  Prajna  men* 
tioned  before,  with  this  difference  that  she  should  have  in  her  second 
pair  of  hands  the  bow  and  the  arrow  instead  of  the  human  skin. 

1.     MAHAMAYA 
Colour— Blue  Faces—Four 

Arms — Four  Prajna— Buddhdakinl 

''Mahamayahvayam  devam  caturmukham  caturbhujarh     I 
Ahke  yasya  tatha  devi  catasro  diksu  caparahM     II 

"The  god  called  Mahamaya  is  four-faced  and  four-armed.  He  has 
on  his  lap  a  goddess  and  four  others  in  the  four  cardinal  directions''. 

Hevajra  takes  the  name  of  Mahamaya  when  he  is  embraced  by  his 
Sakti  BuddhadakinI  and  remains  with  her  in  yab-yum.  This  variety  of 
Heruka,  as  the  verse  above  indicates,  has  four  faces  and  four  arms  and 
is  accompanied  by  four  goddesses  in  the  four  cardinal  points.  Two 
Sadhanas  (Nos.  239,  240)  in  the  Sadhanamala  are  devoted  to  the 
worship  of  the  deity,  one  of  which  is  attributed  to  Kukkuripada 
celebrated  as  one  of  the  eighty- four  Mahasiddhas  who  flourished 
in  early  times.  Below  is  given  a  summary  of  the  description  of  the 
Mandala  of  Mahamaya. 

Mahamaya  is  terrible  in  appearance.  His  body  is  besmeared  with 
ashes  and  his  hair  streams  upwards  in  the  shape  of  a  flame  of  fire. 
He  is  blue  in  colour  and  his  head-dress  is  decorated  with  a  row  of 
skulls.  His  four  faces  are  of  blue,  yellow,  white  and  green  colour, 
and  he  carries  in  his  four  hands  the  Kapala,  the  arrow,  the  Khatvahga, 
and  the  bow.  He  is  endowed  with  five  auspicious  symbols,  has  a  torque 
round  the  neck  and  bracelets  on  his  wrists*  He  is  clad  in  human  skin, 


164  BUDDHIST  ICONOGRAPHY 

has  three  eyes  in  each  head,  and  flames  of  fire  radiate  from  his  body. 
He  appears  beautiful  in  his  sentiment  of  mixed  anger  and  delight,  and 
stands  in  the  Ardhaparyanka  in  a  dancing  attitude.  He  is  embraced  by 
Buddhadakim,  who  is  red,  carries  the  same  weapons  and  has  the  same 
appearance  and  symbols  as  those  of  Mahamaya.  Her  four  faces  are 
red,  yellow,  white  and  green. 

The  four  petals  in  the  four  cardinal  directions  of  the  lotus  seat  are 
occupied  by  the  following  goddesses,  ' 

(1)  VajradakinI  in  the  east,  who  is  blue  in  colour  with  four  faces 
of    blue,   yellow,  ,white   and    green    colour,  and   carries  the 
Khatvahga  and  the  Ghanta  in  the  two  left  hands  and  the  Vajra 
and  the  Kapala  in  the  two  right. 

(2)  RatnadakinI  of  yellow  colour  is  in  the  south,  with  four  faces 
of  yellow,  blue,  red  and  green  colour.     She  carries  the    flag 
and  the  jackal  in  her  two  left  hands  and  the   Trisula   and  the 
jewel  in  her  two  right. 

(3)  Padmadakim  in   the   west   is   of  reddish   white   colour,     has 
four    faces     of    red,     yellow,     blue    and   green  colour,  and 
carries  the  bow  and  the  Kapala  in  her  two  left  hands  arid*  the 
arrow  and  the  double  lotus  in  the  two  right. 

(4)  Visvadakim  in  the  north,   of  green  colour,  who  has  four  faces 
of  green,  yellow,  red  and    blue  colour,  and   who  carries  the 
Pasa  and  the  Kapala  in  her  two  left  hands  and   the  Khatvanga 
(or  the  sword)  and  the  Damaru  in  the  two  right. 

These  four  deities  exhibit  wrath,  have  their  heads  decorated  with  a 
number  of  skulls,  have  garlands  of  heads  still  wet  with  blood,  three 
eyes  and  portruding  teeth.  Their  brown  hair  stream  upwards  in  the 
shape  of  a  flame,  and  flames  of  fire  radiate  from  their  {persons. 

In  the  Nispannayogavali,  Mahamaya  also  finds  mention  and  the 
description  given  therein  is  quoted  below  : 

"Mahamayahva-Herukah  krsno-'rkaprabho..  nilapkasvetaharita- 
mulasavyapascimavama-caturmukhah. .  .savyabhujabhy  am  kapalasarau 
vamabhyam  khatvahgadhanusi  dadhanah...ardhaparyahkena  tandavi." 

NSP.p.*22. 

4*The  form  of  Heruka  called  Mahamaya  is  blue  in  colour  and  resem- 
bles the  dazzling  sun.... He  is  four-faced  ;  the  principal  face  is  blue,  the 
right  yellow,  the  one  behind  is  white  and  the  left  green. ...He  holds  in 
his  two  right  hands  the  skull  cup  and  the  arrow,  and  in  the  two  left  the 
Khatvanga  and  the  bow... He  dances  the  Tandava  dance  in  Ardha* 
paryahka". 


EMANATIONS  OF  AKSOBHYA  165 

Mahamaya  is  known  both  in  Tibet  ]  and  in  China  •'. 

8.    HAYAGRIVA 
Colour — Red  Faces — Three 

Arms — Eight  Asana — Lahta 

Appearance — Terrible. 

[One  form  of  Hayagrlva,  as  an  emanation  of  Amitabha,  has  already 
been  discussed  in  the  previous  chapter,  but  there  is  another  form  of 
the  god  that  emanates  from  the  Dhyani  Buddha  Aksobhya.J  The 
Dhyana  describing  him  runs  as  follows  : 

"Arya-Hayagrivarh  raktavarnurh  trimukharh  astabhuiarh  prati- 
mukharh  trinetrarh  nilasitadaksmetaravadanarh  sarpabharanam  lahtak- 
sepapadanyasarh  sakrodhadrstmiriksanam,  prathamamukharh  smerarh 
lalajjihvarh,  daksinamukharh  darhstravastabdhaustharh,  vyaghracarmam- 
.vasanarh  vajra-danda^karanamudra-sarodyatadaksinakaracatustayarh  tar* 
janika-svakucagraha-padma-dhanurudyatavamakaracatustavarh  Aksobh- 
yamaulinarh  dhyayat/'  Sadhanamala,  p.  508. 

[The  worshipper  should  conceive  himself  as  Arya-Hayagriva  of 
red  colour,  with  eight  arms  and  three  faces,  each  face  with  three  eyes. 
His  right  and  left  faces  are  blue  and  white  respectively  and  he  has  snakes 
for  ornaments.  His  legs  are  arranged  in  the  Lahta  attitude  and  he 
looks  wrathful.  His  first  face  has  a  smiling  appearance,  the  right  has 
a  protruding  tongue  and  he  bites  his  lips  in  his  left.  He  is  clad  in 
tiger-skin  and  shows  in  his  four  right  hands  the  Vajra,  the  staff,  the 
Karana  pose  and  the  raised  arrow.  Of  the  four  left  hands,  one  has  the 
raised  index  finger,  the  second  touches  the  breast  and  the  two  remain- 
ing ones  hold  the  lotus  and  the  bow.  He  bears  the  effigy  of  Aksobhya 
on  his  crown".  I 

Fig.  128  illustrates  a  Nepalese  drawing  of  the  deity.  It  vanes  a 
little  from  the  description  given  in  the  Sadhana,  /The  hand  that  ought 
to  be  touching  his  own  breast  displays  a  different  mudra  and  the  hand 
that  ought  to  display  the  raised  index  finger  only  has  a  noose  round  it. 
Nevertheless,  the  sketch  is  important  as  it  shows  a  miniature  head  of 
a  horse  on  the  head,  to  show  that  he  is  really  Hayagrlva  "Horse-neck". 
The  rare  Karana  pose  shown  in  the  picture  is  noteworthy. 

Hayagrlva  is  popular  both  in  Tibet :i  and  in  China4.  Fig.  129  illus- 
trates a  Chinese  statuette  of  Hayagrlva. 

1.  A.  K.  Gordon  :  1TL,  p.  83  ;  Getty  :  GNB,  p.   144. 

2.  Clark  :  TLP,II,  pp.  82,  237. 

3.  A.  K.  Gordon  :  ITL,  pp.  90,  93.    Sec  also  Getty  :  GNB,  p    163 

4.  Clark  :  TJLP,  II.  pp.  59.  164,  172,  198. 


J66  BUDDHIST  ICONOGRAPHY 

9.     RAKTAYAMARI 
Colour — Red  Face — One 

Arms — Two  Variety — YatvYum 

Several  Sadhanas  in  the  Sadhanamala  describe  the  manner 
in  which  the  deity  should  be  worshipped.  In  one  of  the  Sadhanas,  it 
\s  said  that  the  colour  of  the  deity  varies  in  accordance  with  the 
different  functions  he  has  to  discharge.  For  instance,  in  the  Santikavi" 
dhi  (rite  of  pacification)  the  deity  is  white  and  faces  the  east  ;  in 
Paustika  rite  he  is  yellow  and  faces  the  north  ;  in  Vasyavidhi  (rite  of 
subdviing)  he  is  red  and  faces  the  west,  and  in  Akarsana  (attraction)  he 
is  blue  and  faces  the  south,  and  so  on.  Of  these  varieties  the  red  and 
blue  are  the  most  popular  ;  in  other  words,  his  worship  is  mostly 
performed  with  a  view  to  enchanting  men  and  women  and  to  forcibly 
subduing  them  and  bringing  them  to  the  worshipper.  When  Yamantaka^ 
is  red  he  is  called  Raktayaman  and  when  he  is  blue  he  is  called 
Krsnayaman.  Yamari  or  Yamantaka  may  either  be  worshipped  alone 
or  in  conjunction  with  his  Prajna.  He  should  have  the  head  of  a 
buffalo  on  his  shoulders  and  should  ride  a  buffalo.  Getty  l 
records  a  tradition  current  in  Tibet  which  gives  the  origin  of  this 
fearful  god. 

There  was  once  a  holy  man  who  lived  in  a  cave  in  deep  meditation 
for  fifty  years  after  which  he  was  to  enter  Nirvana.  On  the  night  of 
the  forty-ninth  year,  eleventh  month  and  twenty-ninth  day  two  robbers 
entered  the  cave  with  a  stolen  bull  and  slaughtered  it  there.  But  when 
they  discovered  the  presence  of  an  ascetic,  a  witness  to  their  crime, 
beheaded  him  and  lo  !  his  body  assumed  the  ferocious  form  of  Yama, 
and  taking  up  the  bull's  head  he  set  it  up  on  his  headless  shoulder. 
He  then  killed  the  two  robbers  and  drank  their  blood  fiom  the  cup 
made  out  of  their  skulls.  In  his  fiery  and  insatiable  thirst  for  victims 
he  threatened  to  depopulate  the  whole  of  Tibet.  The  Tibetans  appealed 
to  their  Tutelary  deity,  Manjusri,  who  thereupon,  assumed  the  fierce 
form  of  Yamantaka  and  defeated  Yama  in  a  fearful  struggle 

Whatever  might  be  the  truth  of  the  tradition,  it  sufficiently  explains 
the  presence  of  eulogies  of  Manjusri,  in  the  Sadhanas  for  Yamantaka. 
It  may  be  noted,  however,  that  the  Sadhanamala  is  absolutely  silent 
about  Yama,  both  as  a  principal  deity  or  as  an  opponent  of  Yamantaka. 
Yama  is  the  god  of  Death  amongst  the  Hindus.  The  Buddhists  created 
a  killer  of  Yama  in  Yamantaka  and  it  must  have  been  an  achievement 

I.    Getty  :  GNiB,  pp.  152-153. 


EMANATIONS  OF  AKSOBHYA  167 

then.     Under  the  title  of  Yamantaka  he  is    known   in   Tibet  l.     Under 
the  title  of  Yamantakavajra  he  is  found  in  China  -. 

Six  Sadhanas  are  devoted  to  the  worship  of  this  variety  of  Yaman- 
taka. He  is  one*faced  and  two-armed  and  is  embraced  by  the  Prajna 
who  is  his  own  creation.  The  Dhyana  describing  ins  form  is  as 
follows  : 

**Atmanarh  Yamantakarh  ekamukharh  dvibhujarh  pratyalidhapadarh 
raktaparipurnakapalavamakararh  sardrapitamundankitasitadandadaksi- 
nakararh  nagabharanavibhusanarh  pihgalordhvakesarh  vyaghracarmam- 
baradhararh  Aksobhyamukutinam  svabha-Prajnahhgitam  mahisopari 
visvadalakamalasuryastharh  dhya>  at.  Bhagavatmca  dvibhujaikamu- 
khirh,  vicitrabharanarh  alidhapadasthitarh  maduvihvalarh  skhalad- 
vyaghracarmamsukam  Bhagavata  sSaha  samputayogena  pratyalidhena- 
vasthitarh  evaih  vicintya..." 

Sadhanamala  p.  530. 

**The  worshipper  should  tlnnk  himself  aj>  Yamantaka,  one-faced  and 
two-armed,  who  stands  in  the  Pratyiidha  attitude,  carries  the  Kapala 
full  of  blood  in  the  left  hand  and  the  white  staff  surmounted  by  a 
yellow  head  still  wet  with  blood,  in  the  right-  He  is  decked  in  orna- 
ments of  snakes  and  his  brown  iiair  rises  upwards.  He  weais  gar- 
ments of  tiger-skin,  bears  the  image  of  Aksobhya  on  the  crown, 
and  is  embraced  by  his  Svabha  Prajna.  He  stands  on  the  orb  of  the  sun 
over  the  double  lotus  on  the  back  of  a  buffalo.  He  (the  worshipper) 
should  also  meditate  upon  the  Bhagavati  (Prajna)  who  is  one-faced, 
two-armed,  and  has  variegated  ornaments.  She  stands  in  the  Pratya- 
lidha  attitude,  is  intoxicated  with  wine,  wears  garments  of  tiger-skin 
which  slips  down  her  waist  and  remains  in  yab-yum  with  the  god,  both 
standing  in  the  Pratyalldha  attitude.  Thus  meditating... ". 

10.    KRSNAYAMAR1 
Colovn  — Blue  Varieties — Four 

Eight  Sadhanas  in  the  Sadhanamala  describe  his  different  forms. 
He  may  have  one  face  and  two  arms,  or  three  faces  and  four  arms, 
or  three  or  six  faces  and  six  arms.  One  six-armed  variety  is  des- 
cribed also  in  the  Nispannayogavali.  Krsnayamari  is  represented 
singly  as  well  as  in  yab^yum.  His  different  forms  are  dealt  with  one  by 
one  in  the  following  sections. 

1,  Getty  :  GNB,  p.  164. 

2.  Clark  :  TLP,  II,  pp.  52,  73. 


168  BUDDHIST  ICONOGRAPHY 

(i)    T  wo*- Armed 
Colour — Blue  Face — One 

Arms— Two  Variety — Single 

Symbol — Staff 

This  twoarmcd  form  of  Krsnayamari  is  without  any  companion. 
The  Dhyana  in  the  Sadhanamala  describes  his  form  thus  : 

"Yamarim  vicintayet  atmanam  pratyalldhapadasthitam  ekamukham 
dvibhujaifo  nilavarnarh  daksinakare  vajrankitodyata-niladandam  vama- 
kare  tarjampasam  hrdi,  evambhutam  Yamarim.  visvadalakamalopari 
suryasthamahisarudham  bhavayet/  Sadhanamala,  p.  547 

"The  worshipper  should  conceive  himself  as  (Krsna)  Yaman  who 
stands  in  the  Pratyalldha  attitude,  is  one-faced,  two-armed  and  of  blue 
colour.  He  brandishes  the  staff  marked  with  a  Vajra  with  the  right 
hand,  and  shows  the  raised  index  finger  with  the  noose  against  the 
chest  in  the  left.  In  this  form  Yamari  should  be  meditated  upon 
as  standing  on  the  orb  of  the  sun  on  a  double  lotus  and  as  riding  a 
buffalo/' 

(ii)     Four- Armed 

Appeatance — Terrible  Variety—  Yab-yum 

Faces-  -Three  Arms — Four 

Companion — Prajna. 

The  form  of  Yamari  with  three  faces  and  four  arms  looks  terrible 
and  awe-inspiring.  He  is  represented  in  yab-yum,  and  the  Dhyana 
describes  his  form  in  verse  as  follows  : 

'*  ..Yamariratibhisanah     1 

Kathoravarhikanthabhah   savyasuklarunetarah     II 
Krodhaparyahkayogena   visvabjaravisamsthitah     I 
Svabhavidyadharasvadarasayanamahasukhah    II 
Kadarordhvajjvalatkesah  pingabhrusmasrulocanah     I 
Phamndravrndanepathyo  mrnaladhavaladvijaih     II 
Mudgarasidharah  savye  vame  rajivaratnadhrk"     II 

Sadhanamala,  p.  544 

4 'Yamari  is  terribly  fierce,  is  of  deep  (blue)  colour  like  that  of  the 
throat  of  a  peacock,  and  his  right  and  left  faces  are  of  white  and  red 
colour  (respectively).  He  stands  on  the  orb  of  the  sun  on  a  double 
lotus  in  an  angry  mood.  He  enjoys  the  bliss  of  partaking  the  nectar 
from  the  lips  of  the  Prajna  of  his  own  creation.  His  hair  stands  on  his 
head  in  the  shape  of  a  flame  of  fire,  and  his  beard  and  the  eyes  are  of 
brown  colour.  His  ornaments  are  formed  by  the  host  of  the  lords  of 


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EMANATIONS  OF  AKSOBHYA  177 

twice-born  serpents  who  are  white  like  stalks  of  lotuses.  He  carries 
in  his  right  hands  the  Mudgara  and  the  sword,  and  in  his  left  the  lotus 
and  the  jewel". 

(iii)     Six-Armed 

Asana  —  Alidha  Faces — Three  or  Six 

Arms — Six  Variety — Single 

The  form  of  Yamari  with  three  faces  and  six  arms,  is  fierce  in 
appearance  as  the  previous  ones,  and  is  single.  He  is  three-faced,  and  all 
his  faces  show  a  protruding  tongue,  canine  teeth,  three  eyes,  and 
contorted  brows.  He  has  a  big  belly,  is  short  and  dwarfish  m  appear- 
ance  and  wears  a  garment  of  tiger-skin.  He  carries  the  Vajra,  the 
sword  and  the  Musala  in  his  three  right  hands  and  the  goblin  (Vetali) 
the  axe  and  the  lasso  m  his  three  left  According  to  another  state- 
ment  in  the  Sadhana,  he  carries  the  sword,  the  Mudgara  and  the 
Vajra  in  the  three  right  hands  and  the  Ghanta,  the  Vajrapasa  and  the 
Musala  in  the  three  left.  The  same  Sadhana  further  says  that  though 
he  is  represented  generally  as  three-faced  and  six-armed,  he  may  also 
have  six  faces  and  six  legs,  with  the  same  weapons.  The  Dhyana  for 
the  worship  of  this  six-faced  and  six-legged  variety  of  Yamantaka 
runs  as  follows  : 

"Yamantakam  kruddham  urdhvakesarh  krsnarh  sanmukharh  sad- 
bhujam  satcaranam  mahisarudham  pratyahdhasthitaih  naramundarun- 
dairvibhusicam  atihhayanakakararh  vyaj*hracarmamvasanam  daksine 
khadga-mudgara-vajrani,  vame  ghanta-vajrapasa-musalan  dharayantam 
mukute  Aksobhyam  vibhavayct".  Sadhanamala,  p.  546 

*The  worshipper  should  conceive  himself  as  Yamantaka,  with  an 
angry  mood  whose  hair  rises  upwards  and  who  is  six-faced,  six-armed 
and  six-legged.  He  rides  a  buffalo,  stands  in  the  Pratyalldha  attitude, 
is  embellished  with  severed  human  heads,  and  has  a  very  ferocious 
appearance.  He  is  clad  in  garments  of  tiger-skin,  carries  in  the  three 
right  hands  the  Khadga,  the  Mudgara  and  the  Vajrd,  and  in  the  three  left 
the  Ghanta,  the  Vajrapaba  and  the  Musala.  He  bears  the  effigy  of 
Aksobhya  on  the  crown/* 

Yaman  of  blue  colour  is  the  principal  deity  in  the  Yamari  Mandala 
of  the  Nispannayogavali.  Here  his  form  is  three-faced  and  six*armed 
like  the  one  previously  described.  The  description  may  be  briefly  given 
thus  : 

"Krsna-sita-rakta'mula-savya-vamavadanah  sadbhujah  kartrikapa- 
lancita-Sdvyetarakarabhyam  svabhaprajnasarnalihgitah  savyabhyam 
vajrasi  vamabhyam  cakrabje  vibhranah".  NSP,  p.  36 

23 


178  BUDDHIST  ICONOGRAPHY 

"Yamari's  three  faces  show  the  blue,  white  and  red  colour  in  the 
principal,  the  right  and  the  left.  He  is  six-armed.  In  the  principal 
pair  of  hands  carrying  the  Kartri  and  the  Kapala  he  embraces  the 
Prajna  of  his  own  creation.  In  the  two  remaining  right  hands  he 
carries  the  Vajra  and  the  sword,  and  in  the  two  left  he  carries  the 
discus  and  the  lotus." 

As  Yamantakavajra  he  is  known  in  China  l  and  two  statuettes  of 
his  are  illustrated  in  Two  Lamaistic  Pantheons  of  Clark. 

11.    JAMBHALA 

Faces  —Three  Arms— Six 

Variety — Yab-Yum 

Jambhala  has  undoubtedly  a  greater  antiquity  behind  him  than  that 
of  the  five  Dhyani  Buddhas.  Jambhala  again  is  a  Yaksa  and  that 
indicates  his  non-Buddhist  origin.  This  may  be  one  of  reasons  why 
he  could  not  be  assigned  to  any  one  as  parental  Dhyani  Buddha.  In 
other  words  Jambhala  is  similar  to  ManjusrI  whose  sire  also  could  not 
be  definitely  determined.  In  the  Sadhanamala  the  parental  Dhyani 
Buddha  of  Jambhala  is  either  Ratnasambhava  or  Aksobhya.  Images 
of  Jambhala  are  to  be  met  with  in  the  Gandhara,  Mathura,  Sarnath, 
Magadha,  Bengal  and  Nepal  sculptures.  For  the  purpose  of  this 
section,  however,  the  form  emanating  from  Aksobhya  is  important. 
Here  he  is  three-faced  and  six-armed  and  is  represented  in  yab-yum. 
Though  the  Dhyana  does  not  mention  the  colour,  it  can  be  presumed 
that  his  colour  is  blue  which  is  the  colour  of  the  Dhyani  Buddha 
Aksobhya  from  whom  he  takes  his  origin.  Jambhala  as  the  god  of 
wealth  commanded  great  respect  amongst  the  Buddhists,  and  received 
worship  in  various  forms  in  all  Buddhist  countries.  The  Dhyana  in 
the  Sadhanamala  describes  his  six-armed  form  as  follows  : 

"Jambhalarh  trimukharh  sadbhujarh  Aksobhyajatamukutinarh  daksi- 
natribhujaih  matulunga-nkusa-banadharam  prathamavamabhujaikena 
vama-parsvasthita-Prajnalingitam  aparavamabhujabhyarh  sapasanakuli- 
karmukudhararh  atmanarh  nispadya../'  Sadhanamala  p.  564 

'The  worshipper  should  conceive  himself  as  Jambhala,  three-faced 
and  six-armed,  on  whose  matted  hair  there  is  an  image  of 
Aksobhya.  He  carries  in  his  three  right  hands  the  citron,  the  goad 
and  the  arrow.  He  embraces  the  Prajna  with  the  first  left  hand,  carries 
the  mongoose  tied  round  with  a  lasso  and  the  arrow  respectively  in 
the  second  and  the  third.  Thus  meditating...". 

1*    TLP,  Vol.  II,  pp.  52,  73.    For  a  Tibetan  specimen  see  Gordon  :  ITL,    p.  90 


EMANATIONS  OF  AKSOBHYA  179 

Jambhala  is  known  in  Tibet  ].  Two  statuettes  of  the  six*armed 
Jambhala  are  to  be  found  in  the  Chinese  collection  at  Peiping  -. 

12.    UCCHUSMA-JAMBHALA 

Appearance — Terrible  Vahana—Kuvera  vomitting  jewels 

Asana — Pratyalidha 

Ucchusma  also  called  Dimbha,  being  a  variety  of  Jambhala,  bears 
also  the  imag^  of  Aksobhya  on  his  crown.  He  may  however,  have  the 
image  of  Ratnasambhava  instead,  and  as  an  emanation  of  Ratnasanv 
bhav a  Jambhala  will  be  described  later.  Several  Sadhanas  are  devoted 
to  his  worship,  and  the  Dhyana  describing  him  with  the  image  of 
Aksobhya  on  his  crown  runs  as  follows  : 

"Atmanam  Bhagavantam  Ucchusmam  pancavarsakumarakrtim 
kharvarh  visvapadmastham  candropari  sarpabharanabhusitarh  ratna-* 
mukutim  muncad^ratnamukhapitahgasupta-Dhanadasya  lalatam  daksi- 
nena  caranena  caranadvyarh  vamenakrantamurtim  pratvalidhapadam  ; 
nagnarh  urdhvalihgarh  lambodaram  ;  hrdi  daksinapanistharaktapur- 
nakapalabhimukhadrstim  ;  vamajahghasaktavamakarena  ratnacchatod' 
garyyadhomukhanakullm  aviddhadhollakarnadvayarh  ardhendu  [sekha- 
ram]  damstrakaralavadanam  raktavarttulatrinetrarh  krtabhrkuti lalatam 
pihgordhvakesarh  Bhusparsamudra'nil'Aksobhyamunimastakarh...M 

Sadhanamala,  p.  577. 

uThe  worshipper  should  meditate  himself  as  the  god  Ucchusma, 
who  appears  a  child  of  five  years  and  is  dwarfish.  He  stands  on  a 
double  lotus  on  the  moon,  is  decked  in  ornaments  of  snakes  and  has 
a  jewelled  headdress.  He  stands  in  the  Pratyalidha  attitude  and 
presses  with  his  right  leg  the  forehead  of  the  sleeping  Dhanada  of  yellow 
colour  with  his  mouth  vomitting  out  jewels.  His  left  leg  rests  on  the 
two  legs  (of  Dhanada).  He  is  nude,  and  his  membrum  virile  is  pointed 
upwards.  He  has  a  protruding  belly,  and  has  his  eyes  fixed  on  the 
Kapala  full  of  blood  which  he  carries  in  his  right  hand  against  the 
chest.  He  holds  in  his  left  hand  the  mongoose  vomitting  out  jewels, 
on  his  left  thigh.  His  ears  are  large  and  unpierced  and  he  has  a  crescent 
on  his  crown.  His  face  is  distorted  with  bare  fangs,  and  his  three  eyes 
are  red  and  round.  His  brows  are  distorted,  and  his  brown  hair  rises 
upwards.  He  bears  on  his  crown  the  image  of  Aksobhya  of  blue 
colour  displaying  the  earth-touching  attitude*'. 

1.  Getty  :  GNB,  p    159. 

2,  Clark  :  TLP,  II,  p.  310  under  the  title  of  Sadbhuja  Jambhala,  and  on  p.  203  as 
Sadbhuja  Jambhala vajra. 


180  BUDDHIST  ICONOGRAPHY 

The  Sarnath  image  (Fig.  130)  illustrates  this  form  of  Jambhala 
standing  on  Dhanada  or  the  Hindu  god  of  wealth.  Streaks  of  jewels 
may  be  noticed  as  coming  out  of  Kuvera's  mouth.  The  peculiar 
feature  of  this  sculpture  is  that  here  Dimbha  is  accompanied  by  his 
Sakti  Vasudhara. 

13.     VIGHNANTAKA 
Asana — Pratyalidha  Colour — Blue 

Symbols — Tarjanlpasa  and  Vajra 

Vighnantaka  is  closely  associated  with  three  other  gods,  Padmantaka, 
Yamantaka,  and  Prajnantaka,  who  are  generally  represented  as 
guardians  of  the  gates  in  the  Mandala.  Vigtmantaka  is  represented 
in  various  forms.  The  name  is  significant  as  the  word  "Vighna"  or 
"obstacle"  refers  to  the  Hindu  god  Ganesa.  Only  one  short  Sadhana 
in  the  Sadhanarnala  describes  his  form  in  the  following  terms  : 

"Atmanarh  pratyalldhapadasthitarh  ekamukharh  dvibhujarh  nilava- 
rnarh  varnakarena  tarjanikapasam,  daksinakarenodyatavajrarh  bhayana- 
karh  pihgalordhvakesam. 

Vighnantakasadhanam.''  Sadhanarnala,  pp.  558-559. 

"The  worshipger  should  conceive  himself  as  (Vighnantaka)  who 
stands  in  the  Pratyalidha  attitude,  is  one-faced,  two-armed,  and  blue 
in  colour.  He  carries  in  his  left  hand  the  Tajampasa,  and  wields  the 
Vajra  in  the  right.  He  is  terrible  in  appearance  and  his  brown  hair 
rises  upwards.  His  seat  is  on  the  orb  of  the  sun  placed  on  a  lotus". 

This  Sadhana  is  silent  about  the  prostrate  figure  of  Ganesa  whom 
he  tramples  under  his  feet,  thereby  giving  significance  to  his  name  as 
already  indicated.  It  may  be  pointed  out  here  that  the  god  Ganesa, 
whom  the  Hindus  consider  to  be  the  remover  of  all  obstacles,  is 
regarded  as  the  most  dangerous  obstacle  by  the  Buddhists  !  As  to  the 
origin  of  this  god  there  runs  a  Nepalese  legend  that  at  a  certain  time  an 
Odiyana  Pandit  was  performing  a  Tantric  rite  on  the  bank  of  the 
Baghmati  river  near  Kathmandu  in  order  to  obtain  Siddhi  (perfection). 
-Ganesa,  it  is  said,  being  strongly  opposed  to  the  idea,  began  throwing 
dangerous  obstacles  in  the  way  of  the  due  performance  of  the  rite. 
The  Odiyana  Pandit  finding  himself  helpless,  invoked  the  god  Vighnan- 
taka, the  destroyer  of  all  obstacles,  and  lo  !  Vighnantaka  appeared  in 
a  fierce  and  terrible  form,  armed  with  destructive  weapons  and  gave 
hot  chase  to  Ganesa,  who  was  by  this  time,  flying  in  terror,  and  in  'no 
time  overcame  the  latter. 


EMANATIONS  OF  AKSOBHYA  18  1 

In  the  statuette  illustrated  in  Fig.  131  it  may  be  seen  how  Vighnantaka 
is  trampling  heavily  on  Ganesa  and  the  latter,  in  order  keep  up  the 
dignity  of  his  godhead,  exhibits  the  Abhaya  pose  even  in  his  agony! 
The  form  in  which  Vighnantaka  is  said  to  have  appeared  before  the 
Odiyana  Vajracaryya  has  six  arms.  He  carries  in  his  two  principal 
hands  the  Kartn  and  the  Kapala  against  the  chest  ;  the  rest  carry  the 
Damru  and  the  goad  in  the  right,  and  the  Trisula  and  the  noose  with 
the  TarjanI  in  the  left, 

The  original  image  is  in  the  Baroda  Museum  collection.  Vighnan- 
taka is  known  also  to  the  Chinese  collection  at  Peiping  l. 

14*    VAJRAHUNKARA 
(i)     Two-Armed 

Appearance — Terrible  Symbols — Vajra  and  Ghanta 

Mudra — Vajrahuhkara  Arms — Two 

Asana — Pratyalidha  Vahana — Siva 

Only  one  Sadhana  in  the  Sadhanamala  describes  the  form  of  the 
god  Vajrahuhkara,  who  is  so-called  because  his  two  hands  carrying  the 
Vajra  and  the  Ghanta  exhibit  the  Vajrahuhkara  mudra.  The  Sadhana 
says  that  the  god  originates  from  the  sacred  syllable  'Hum'  which  is 
irresistible  like  the  Fire  of  Destruction,  is  blue  in  colour,  and  dazzlmgly 
bright.  The  Sadhana  adds  further  : 

"Tadutpannam  maharaudrarh  Vajra  hunk ara-samjnak  am     I 
Attahasarh  maharaudrarh  ksepayantarh  tridhatukarh     II 
Ghantavajraprayogena  mudrabaddhakaradvayarh     I 
Pratyalldhapadenaiva  Bhairavakrantabhlkararh"     II 

Sadhanamala,  p.  506 

''The  worshipper  should  conceive  himself  as  the  god  Vajrahuhkara, 
who  originates  from  that  syllable  (Hum)  and  is  terribly  fierce  in 
appearance.  He  laughs  horribly,  is  wrathful,  und  disturbs  the  three 
worlds.  His  two  hands  carrying  the  Ghanta  and  the  Vajra  are  locked 
in  the  Vajrahunkara  mudra.  He  tramples  upon  Bhairava,  in  the 
Pratyalidha  attitude,  and  inspires  awe." 

It  may  be  pointed  out  that  though  Vajradhara  also  displays  the 
Vajrahuhkara  mudra  and  carries  the  Ghanta  and  the  Vajra  in  exactly 
the  same  way  as  Vajrahuhkara  does,  there  are  many  differences  between 
their  forms*  Vajradhara  sits  in  the  Vajraparyahka  attitude  on  a  lotus 
and  has  a  peaceful  and  graceful  appearance,  while  Vajrahuhkara  stands 

T~  Clark  ;  TLP,  II,  pp.  217,  311*  ~~ 


162  BUDDHIST  ICONOGRAPHY 

in  the  Pratyalidha  attitude,  tramples  upon  Bhairava,  a  form  of  the 
Hindu  god  Siva,  and  has  a  terrible  appearance.  No  connection  can, 
therefore,  be  established  between  the  two. 

Vajrahunkara  images  are  known  to  the  Chinese  collection  at  Peiping  l 
although  they  are  not  generally  found  in  India. 

(ii)     Six-armed 

Colour — Blue  Faces — Three 

Arms — Six 

Vajrahunkara  is  the  principal  deity  in  the  Vajrahunkara  Mandala  of 
the  Nispannayogavali,  and  is  identified  with  Trailokyavijaya,  He  is 
three-faced  and  six-armed.  With  his  two  principal  hands  arranged  in 
the  Trailokyavijaya  L>  mudra  and  holding  the  Vajra  and  Ghanta  he 
embraces  the  Prajna  of  his  own  creation.  With  the  two  remaining 
right  hands  he  holds  the  goad  and  the  noose,  and  with  the  two  left  he 
shows  the  skull-cup  and  the  Khatvanga  :>> 

As  Vajrahunkara  and  Trailokyavijaya  he  is  known  m  China  4 

15.     BHUTADAMARA 

Colour— Black  as  collyrium  Appearance — Terrible 

Arms — Four  Mudra — Bhutadamara. 

Three  Sadhanas  in  the   Sadhanamala   describe   the    form   of  Bhutd- 
damara,  who  is  terrible  and   awe-inspiring,   with   ornaments   of  snakes, 
canine  teeth,  and  garlands  of  skulls.     The  Dhyana  runs  as  follows  : 
"Atmanarh  pasyet  raudram    jvalamalakulaprabham     1 
Caturbhujam  rrahakrodharh  bhinnanjanasamaprabham     II 
Daksine  vajramullalya  tarjayan  vamapamna     I 
Damstrakaralavadanam  nagastakavibhusitam    II 
Kapalairfalamukutam      trailokyam     api     nasanam     I 
Attahasam  mahanadaih  trailokyadhisthitam  prabhum     II 
Pratyalldhasusamsthanam  adityakotitejasam   I 
Aparajitapadakrantam   mudrabandhena  tisthati     II 

Bhutadamara*sadhanarh."  Sadhanamala,  p.  521 

(%The  worshipper  should  conceive  himself  as  (Bhutadamara)  who  is 
wrathful  in  appearance  and  whose  person  radiates  fiery  flames.  He 
is  four*armed,  terribly  angry,  and  is  bright  like  a  broken  lump  of 

L    Clark:  TLP,  II,  pp,  238,  314 

1,    Probably    the    fame    as    the   Vajrahunkara  mudra*     For  a  description  of  this 
mudra  see  Gordon  :  ITL,  p.  22 

3.  NSP,  p.  24 

4.  Clark:  TLP,  II,  pp.  238,  314 


EMANATIONS  OF  AKSOBHYA  183 

collyrium.  He  weilds  the  Vajra  in  the  right  hand  and  shows  the  Tarjam 
in  a  threatening  attitude  in  the  left.  His  face  appears  terrible  with  bare 
fangs  and  he  is  decked  in  ornaments  of  eight  serpents.  He  has  the 
garland  of  skulls  on  the  crown  and  is  capable  of  destroying  the  three 
worlds.  He  stands  firmly  in  the  Pratyalidha  attitude  and  is  resplen- 
dent  like  myriads  of  suns.  He  tramples  under  his  feet,  the  god 
Aparajita,  and  exhibits  his  special  mudra/ 

From  the  Dhyana  above  quoted  it  will  appear  that  the  two  principal 
hands  of  the  god  exhibit  the  Bhutadamara  or  the  Damara  mudra  l 
while  the  other  two  carry  the  menacing  Vajra  in  the  right  and  the 
Tarjam  in  the  left.  The  description  of  this  mudra  appears  in  the 
same  Sadhana. 

Bhutadamara  is  the  principal  deity  in  the  Bhutadamara  Mandala  of 
the  Nispannayogavali.  Hert  he  tramples  upon  the  prostrate  form  of 
Aparajita,  and  is  violent  in  appearance.  He  is  four-armed.  He  wieids 
the  Vajra  in  the  right  hand  raised  m  a  menacing  attitude.  In  the  left 
he  shows  the  Tarjam  and  the  noose.  With  the  two  principal  hands,  he 
shows  the  Damara  mudra  -. 

According  to  statement  in  the  Nispannayogavali  the  spiritual  father 
of  Bhutadamara  is  Aksobhya  (Atra  cakresasya  kuleso'ksobhyah, 
NSP.p.  74). 

He  is  known  in  China  under  the  name  of  Bhutadamara  Vajrapani  J. 

16.    VAJRAJVALANALARKA 
Colour — Blue  Faces— Four 

Arms — Eight  Asana — Alidha 

Vahana — Visnu  and  his  wife. 

Only  one  Sadhana  in  the  Sadhanamala  describes  his  form.  He  is 
four-faced,  eight-armed,  stands  in  the  Alidha  attitude,  and  tramples 
upon  Visnu,  who  is  accompanied  by  his  wife.  He  is  blue  in  colour 
and  has  a  terrible  appearance.  The  Dhyana  describes  him  in  the 
following  terms  : 

"Vajrajvalanalarkarh  mlavarnam  jvalamalakulaprabham  caturmu- 
kham  astabhujam  srfxgara-vira-bibhatsa-karunanvitacaturmukham,  ca- 
turbhir-daksinakarair-vajra-khadga-cakra-banadhararh  caturvamakarair- 
ghanta-capa-pasa-khatvahgasaktavicitrapatakadharam  jvaladanalakapila- 
sikhakalapamatibhlsanamahahivalaya-kankana-katisutra-nupura-"kanthi^ 


1.  For  a  description  of  this  mudra   see  Gordon:    ITL,  p.   20   and   for  a  picture, 
ibid,  p.  62. 

2.  For   further  information  on  the   subject,   see  Bhattacha^yya,  B  ;  The  Cult  of 
Bhutadamara  in  the  Proceedings  of  Patna  Oriental  Conference. 

3.  Clark:  TLP,  II,  pp.  242,  152 


184  BUDDHIST  ICONOGRAPHY 

ka-kundala-mukutabharanam  mahamayacakraracanacaturam  sapatmkair 
Visnum-alidhapadena  akramya  avasthitam  bhavayet." 

Sadhanamala  p.  512 

"The  worshipper  should  conceive  himself  as  Vajrajvalanalarka  of 
blue  colour,  whose  person  radiates  fiery  flames*  He  is  four-faced  and 
eight-armed,  and  his  four-faces  display  the  sentiments  of  love,  heroisnij 
disgust  and  compassion.  He  carries  in  his  four  right  hands  the  Vajra, 
the  sword,  the  Cakra  and  the  arrow,  and  in  the  four  left  the  Ghanta, 
the  bow,  the  noose  and  the  Khatvanga  surmounted  by  a  banner  of  varie- 
gated colour*-.  His  brown  hair  resembles  a  burning  flame  and  he  is 
decked  in  ornaments  of  bracelet,  armlet,  girdle,  nupura,  torque,  ear-ring 
and  crown  consisting  of  the  (eight)  great  lords  of  the  frightful  ser- 
pents. He  stands  in  the  Alidha  attitude  and  tramples  upon  Visnu 
with  his  consort  who  are  clever  in  enveloping  everything  with  their 
great  Maya  (deception). 

17.    TRAILOKYAVIJAYA 
Colour — Blue  Faces — Four 

Arms—Eight  Asana — Pratyalidha 

Vahana — Gauri  and  Siva 

Trailokyavijaya  is  also  of  blue  colour,  terrible  in  appearance,  and 
awe-inspiring.  Two  images  of  this  divinity  have  been  noted  by  Prof. 
Foucher,  one  from  Java  and  the  other  preserved  m  the  monastery  of 
the  Hindu  Mohant  at  Bodh  Gaya.  The  Dhyana  describes  his  form 
in  the  following  words  : 

''Trailokyavijaya-Bhattarakam  rnlam  caturmukham  astabhujam  ; 
prathamamukham  krodhasrhgaram,  daksmam  raudram,  vamarii  bibhat- 
sarh,  prstharh  virarasam  ;  dvabhyam  ghantavajranvitahastabhyam  hrdi 
vajrahunkaramudradhararh  ;  daksinatrikaraih  khatvahgankusabana- 
dharam,  vamatrikaraih  capapasavajradharam  ;  pratyalidhena  vama* 
padakranta-Mahesvaramastakam  daksinapadavastabdha-Gaunstanayuga- 
lam  ;  Buddhasragdamamaladivicitrambaiabharanadhannam  atmanam 
vicintya..."  Sadhanamala,  p.  511. 

"The  worshipper  should  meditate  himself  as  Trailokyavijaya 
Bhattaraka  of  blue  colour,  four- faced  and  eight-armed.  His  first  face 
displays  the  sentiment  of  wrathful  passion,  the  right  rage,  the  left 
disgust,  and  the  face  behind  the  sentiment  of  heroism.  He  exhibits 
the  Vajrahuhkara  mudra  with  the  two  hands  bearing  the  Ghanta  and 
the  Vajra  against  the  chest.  He  carries  in  his  three  right  hands  the 
Khatvanga,  the  goad  and  the  arrow,  and  in  the  three  left  the  bow,  the 


EMANATIONS  OF  AKSOBHYA  185 

noose  and  the  Vajra.  He  stands  in  the  Pratyalldha  attitude,  tramples 
upon  the  head  of  Mahesvara  with  his  left  leg,  while  the  right  presses 
upon  the  bosom  of  Gauri.  He  wears  garments  of  variegated  colours, 
and  many  ornaments  and  garlands  assigned  to  the  Buddhas.  Thus 
meditating..." 

This  god  is  known  in  Tibet  l  and  China  -. 

is.  PARAMA£VA 

Faces — Four  Arms — Eight 

Legs— Four  Vahana    Four  gods  and    four 

goddesses 

It  has  already  been  said  that  Paramasva  "Great  Horse"  is  another 
form  of  Hayagrlva  "Horse-Neck"  as  the  word  "asva"  in  Paramasva 
indicates.  In  the  Sadhana  it  is  said  that  he  should  have  four  faces, 
but  in  reality  he  has  seven  faces,  for  one  of  his  faces  is  said  to  be 
Brahmamukha,  or  the  face  of  Brahma,  who  is  credited  with  four  faces. 
The  other  peculiar  feature  of  this  god  is  that  he  has  four  legs,  each 
trampling  upon  two  deities.  The  Dhyana  contained  in  the  Sadhanamala 
is  quoted  below  : 

'Taramasvam  raktam  caturmukham  astabhujam  catuscarnam  ; 
prathamamukham  krodhasrhgararh  trilocanam,  daksinam  raudram, 
vamam  Brahmamukham  murdhni  lalitoddhulitosthamharitasvamukham  ; 
ekena  daksinatripatakadharakatena  visvavajrasahitenottisthabhinayam 
kurvantarh  ;  ekena  vamakhetakahastena  visvapadmam  dharayantam  ;  pu- 
nardaksinatripatakakarena  uttisthabhinayam  kurvantam  punarvamaka- 
rena  saktim  dharayantam  ;  punardaksinakarabhyam  khadgam  bananca, 
avasistavamakarabhyarh  dandam  capanca  dharayantam.  Pratyalldhena 
daksinapadaikena  Indramm  Sriyanca  akramya  sthitam,  dvitiyodaksi- 
nacaranena  Ratim  Pritinca  vamaprathamapadena  Indram  Madhu- 
karanca,  vamadvitlyapadena  Jayakaram  Vasantanca,  ityatmanam 
dhyayat..."  Sadhanamala,  pp.  510-511.  - 

"The  worshipper  should  think  himself  as  Paramasva,  of  red  colour 
four^faced,  eight*armed  and  four-legged.  The  first  face  with  three  eyes 
displays  angry  passion,  the  second  depicts  wrath,  the  third  is  the  face 
of  Brahma,  and  the  fourth  on  the  top  is  green,  distorted  like  a  horse 
with  its  lower  lip  beautifully  protruding.  He  weilds  the  double  Vajra, 
in  one  of  his  right  hands  with  three  fingers  erect  (TripatakaJ  and  in  one 
of  his  left  hands  carries  the  staff  with  the  double  lotus.  Another 


1.  Gordon  J  ITL,  p.  60  ;  See  also  Getty  GNB,  p. 

2,  Clark  :  TIP,  II,  pp.  116.  168. 

24 


186  BUDDHIST  ICONOGRAPHY 

right  hand,  with  three  fingers  erect,  is  raised  upwards,  and  the  other  left 
carries  the  Sakti  (dart).  The  remaining  two  right  hands  carry  the 
Khadga  and  the  arrow,  and  the  remaining  left  carry  the  staff  and  the 
bow.  He  stands  in  the  Pratyalldha  attitude,  and  tramples  with  one  of 
his  right  legs  upon  Indram  and  Sri,  and  with  the  second  Rati  and 
Prlti  ;  with  one  of  the  left  legs  Indra  and  Madhukara,  and  with  the 
other  left  Jayakara  and  Vasanta". 

Fig.  132  illustrates  a  Nepalese  drawing  of  the  deity  Paramasva.  In 
the  picture  the  horse-head  is  noteworthy,  which  also  occurs  in  the  case 
of  another  god,  Hayagnva. 

19.  YOGAMBARA. 
Colour — Blue  Faces — Three 
Arms — Six                   Variety — Yab-Yum 

oakti — Jnanadakini 

God  Yogambara  is  the  principal  deity  of  the  Yogambara  Mandala  or 
the  Nispannayogavall.  His  form  is  there  described  in  the  following 
words  : 

"Simhopari  visvambhojacandre  ardhaparyarikanisanno  Bhagavan 
Yogambarah  krsnah  krsna-sita-rakta-mulasavyavamamukhatrayah. . . 
sadbhujo  vajravajraghantabhrdbhujabhyam  krsnam  suklam  va  Jnana- 
dakinim  pltabhujangabhusanamalihgitah  savyabhyarh  stanabanau 
vamabhyarh  abjabhajanadhanusl  dadhanah"  NSP,  p.  32. 

"Yogambara  sits  in  Ardhaparyanka  on  the  moon  on  a  double  lotus 
placed  on  a  lion.  He  is  blue  in  colour  and  is  three* faced.  His 
principal  face  is  blue,  the  right  white  and  the  left  red.  He  is  six^armed. 
In  his  two  principal  hands  carrying  the  Vajra  and  the  Vajra-marked 
bell  he  embraces  his  Prajna  Jnanadakini  who  is  either  blue  or  white 
in  colour,  and  is  decked  in  ornaments  of  snake.  In  the  remaining 
two  right  hands  he  holds  the  breast  and  the  arrow,  and  in  the  two  left 
he  shows  the  lotus  bowl  and  the  bow  " 

The  blue  colour  of  the  deity  shows  that  Yogambara  belongs  to  the 
family  of  the  Dhyani  Buddha  Aksobhya.  Yogambara  is  known  in 
China  '.  His  Chinese  statuette  is  illustrated  in  Fig.  133. 

20.  KALACAKRA. 
Colour — Blue  Faces — Four 

Arms — Twenty-four 

Kalacakra   is  the  principal  deity  in  the  Kalacakra   Mandala  of  the 
NispannayogavalL    The  famous  Tantra    of  the  Buddhists  called  the 
1.    Clark  :TLP,  II,  pp.  239,  81, 103 


EMANATIONS  OF  AKSOBHYA  187 

Kalacakra  Tantra  introduces  the  cult  of  Kalacakra  into  Buddhism. 
Vimalaprabha  is  the  commentary  on  the  Kalacakra  Tantra  which  is 
referred  to  in  the  Nispannayogavall.  It  is  thus  probable  that  the  cult 
of  Kalacakra  came  into  vogue  in  the  10th  century.  According  to  the 
Kalacakra  Tantra,  the  cult  was  given  the  name  of  Adibuddhayana  or 
Adiyana.  From  the  Vimalaprabha  it  is  evident  that  by  introducing  the 
worship  of  Kalacakra,  the  circle  of  time,  an  attempt  was  made  to 
bring  the  warring  communities  of  the  Hindus  and  the  Buddhists  under 
the  same  banner,  and  unite  them  against  the  cultural  penetration 
of  the  Mlechhas  from  the  Western  borders  of  India  where  the 
followers  of  Islam  were  daily  growing  strong  and  were  destroying  old 
and  ancient  civilizations. 

The  form  of  Kalacakra  as  described  in  the  Nispannayogavall  is 
elaborate  and  somewhat  grotesque.  But  it  is  necessary  to  give  an  idea 
of  his  form  as  briefly  as  possible.  He  is  here  described  thus  : 

"Uttananahgarudrahrdayayoralidhena  nrtyan  Bhagavan  Kalacakrah 
krsno.,..vyaghracarmambaradharo  dvadasanetrascaturmukhah....trigrlvo 
bhagavan .  •  satskandho'sau. .  .dvadasabahurupabahutah  prabhrti  catur- 
vimsatisahasrah.  Tatra  daksinau  dvau  bahu  miau  dvau  raktau  dvau 
suklau  tatha  vamau  evam  karascatvarah.-.savya  vamasca... 

Daksinesu  karesu  krsnesu  vajra^khadga-trisula-kartrikah  ;  raktes- 
vagni*bana*vajr'5nkusah  ;  suklesu  cakra^kunta-danda-parasavah. 

Vamesu  krsnesu  ca  vajra-ghantaphalake  vikasitamukhakhatvahgaih 
raktapurna-kapalam  ca  ;  raktesu  kodandapasau  maniratnaih  pundarl- 
kam  ca  ;  suklesu  darpana'vajra'Srhkhala'Brahmasirasca.'' 

NSP,  pp.  83^84. 

"God  Kalacakra  dances  in  Alidha  attitude  on  the  bodies  of  Anahga 
and  Rudra  lying  on  the  back.  He  is  blue  in  colour.  He  wears  tiger-skin 
and  has  twelve  eyes  and  four  faces.  He  is  endowed  with  three  necks 
and  six  shoulders.  With  the  principal  twelve  hands  on  each  side 
and  the  subsidiary  hands,  the  total  number  of  his  hands  is  twenty-four 
thousand.  Two  of  his  right  hands  are  blue,  two  red  and  two  white. 
The  hands  are  similar  in  the  left.  Thus  along  with  subsidiary  hands, 
four  are  blue,  four  red  and  four  white.  They  occur  both  in  the  right 
and  in  the  left. 

In  the  four  right  hands  of  blue  colour  are  held  the  Vajra,  the  sword, 
the  Trisula  and  th^  Kartri.  In  the  four  hands  of  red  colour  are  fyeld 
the  Fire,  the  arrow,  the  Vajra  and  the  Ahkusa.  And  .in  the  three 
white  hands  are  shown  the  discus,  the  knife,  the  rod,  and  the  axe. 


188  BUDDHIST  ICONOGRAPHY 

In  the  four  left  hands  of  blue  colour  are  shown  the  Vajra-marked 
bell,  the  plate,  the  Khatvanga  with  the  gaping  mouth,  and  the  Kapala 
full  of  blood.  In  the  four  hands  of  red  colour  can  be  seen  the  bow, 
the  noose,  the  jewel  and  the  lotus.  In  the  four  hands  of  white  colour, 
there  are  the  mirror,  the  Vajra,  the  chain  and  the  severed  head  of 
Brahma/' 

Kalacakra  is  known  to  the  Chipese  collection  and  a  presentation  of 
his  form  is  given  in  the  Two  Lamaistic  Pantheons.  Images  or  paintings 
pf  Kalacakra  are  rarely  found  in  India.  He  is  popular  in  Tibet  i  as 
,well  as  in  China  ~.  Fig.  134  illustrates  a  Nepalese  drawing  of  Kalacakra. 
The  blue  colopr  of  the  god  suggests  that  his  spritual  sire  is  Aksobhya. 


1.  Getty  :  GNB,  p.  146.    A  full  description  and  a  fine  picture  are  given  in  Gordon : 
ITL,  pp .  84,  85. 

2,  Clark  :  TLP,  II,  pp.  49,  233* 


CHAPTER  VII 

EMANATIONS  OF  AKSOBHYA  (CONTINUED) 
II.    GODDESSES 

Compared  to  the  other  Dhyani  Buddhas  the  number  of  goddesses 
emanating  from  the  Dhyani  Buddha  Aksobhya  is  large.  Some  of  the 
goddesses  are  well  known  and  popular  in  the  Buddhist  countries  of  the 
north  but  many  Sadhanas  are  not  assigned  to  them.  It  has  already  been 
pointed  out  that  the  emanations  of  this  Dhyani  Buddha  are,  as  a 
rule,  terrible  in  appearance  and  awe-inspiring  in  character.  The 
goddesses  emanating  from  Aksobhya  are  likewise  blue  in  colour,  and 
partake  of  the  fierce  nature  of  the  male  divinities.  The  genuinely 
peaceful  and  benign  deities  such  as  Prajnaparamita  and  Vasudhara 
are  exceptions  to  the  rule.  The  goddesses  emanating  from  the  Dhyani 
Buddha  Aksobhya  are  described  below  one  by  one.  / 

1.     MAHACINATARA  ^ 

Asana — Pratyalidha  Appearance — Terrible 

Vahana — Corpse  Arms — Four 

Two  Sadhanas  are  devoted  to  the  worship  of  Mahacinatara  or  Tara 
of  Mahacina  (Great  China)  and  two  Dhyanas,  one  in  prose  and  the 
other  in  verse  describe  one  and  the  same  form  of  the  goddess.  She  is  also 
known  in  Buddhist  Tantric  literature  as  Ugratara,  and  the  Vajrayogini 
temple  at  Sanku  in  Nepal,  contains  in  the  sanctum  a  figure  of  Ugratara. 
This  Ugratara  or  Mahacinatara  of  the  Buddhists  has  been  incorpora^ 
ted  in  the  Hindu  pantheon  under  the  name  of  Tara,  and  is  now  regard- 
ed as  one  of  the  ten  Mahavidya  goddesses.  The  Dhyana  in  the 
Sadhanamala  describes  her  form  in  the  following  verses  : 

"Pratyalldhapadarh  ghoram  mundamalapralambitam     I 
Kharvalambodaram  bhimam  nilanirajarajitarh    II 
Tryambakaikamukharh  divyam  ghorattahasabhasuram    I 
Suprahrstam  savarudham  nagastakavibhusitam    II 
Raktavarttutanetranca  vyaghracarmavrtam  katau    I 
Navayauvanasampannam  pancamudravibhusitam    II 
Lalajjihvam  mahabhimam  sadamstrotkatabhisanam    I 
Khadgakartrikaram  savye  vamotpalakapaladharh    II 
Pihgograikajatam  dhyayat  maulav-Aksobhyabhusitam    II 
Mahacinatara- Sadhanam",  Sadhanamala,  p,  210 


190  BUDDHIST  ICONOGRAPHY 

'The  worshipper  should  conceive  himself  as  (Mahacma-Tara)  who 
stands  in  the  Pratyalldha  attitude,  and  is  awe-inspiring  with  a  garland 
of  heads  hanging  from  the  neck.  She  is  short  and  has  a  protruding 
belly,  and  her  looks  are  terrible.  Her  complexion  is  like  that  of  the 
blue  lotus,  and  she  is  three-eyed,  one-faced,  celestial  and  laughs  horribly. 
She  is  in  an  intensely  pleasant  mood,  stands  on  a  corpse,  is  decked  in 
ornaments  of  snakes,  has  red  and  round  eyes,  wears  the  garments  of 
tiger-skin  round  her  loins,  is  in  youthful  bloom,  is  endowed  with  the 
five  suspicious  symbols,  and  has  a  protrudiug  tongue.  She  is  most 
terrible,  appears  fierce,  with  bare  canine  fangs,  carries  the  sword  and 
the  Kartri  in  the  two  right  hands  and  the  Uptala  and  the  Kapala  in  the 
two  left.  Her  Jatamukuta  of  one  coil  is  brown  and  fiery  and  bears  the 
image  of  Aksobhya  within  it." 

This  is  the  Dhyana  in  the  Sadhanamala,  the  earliest  manuscript  of 
which  belongs  to  A.  D.  1165.  According  to  the  colophon,  the  Sadhana 
for  Mahaclnatara  has  been  restored  from  the  Mahacina-Tantra,  which 
should  therefore  be  earlier  than  the  earliest  extant  manuscript  of  the 
Sadhanamala.  As  the  Sadhana  in  verse  is  attributed  to  Sasvata- 
vajra  it  is  certain  that  the  Dhyana,  just  quoted,  was  not  in  existence 
before  Sasvatavajra.  Now,  in  the  Tararahasya  of  Brahmananda,  who 
flourished  in  the  middle  of  the  16th  century  and  in  the  Tantrasara  of 
Krsnananda  Agamavaglsa  an  almost  identical  Dhyana  is  stated  descri- 
bing a  goddess  of  the  name  of  Tara  : 

"Pratyalidhapadam  ghoram  mundamalavibhusitam     I 
Kharvam  lambodanm  bhimam  vyaghracarmavrtam  katau     II 
Navayauvanasampannam  pancamudravibhusitam     I 
Chaturbhujam  lolajihvam  mahabhimam  varapradam     II 
Khadgakartrisamayukta-savyetarabhujadvayam    I 
Kapalotpalasamyuktasavyapaniyuganvitarh     II 
Pingograikajatam  dhyayenmaulav-Aksobhyabhusitam     I 
Balarkamandalakaralocanatrayabhusitam     II 
Jalaccitamadhyagatam  ghoradamstram   karalinim     I 
Savesasmeravadanam  stryalahkaravibhusitam     II 
Visvavyapakatoyantah  svetapadmoparisthitam    I 
Aksobhyadevlmurdhanyastrimurtirnagarupadhrk"     II 

Tantrasara,  p»  415  et  sqq. 

A  comparison  of  the  two  Dhyanas  will  at  once  reveal  how  the 
original  composition  of  Sasvatavajra  has  been  modified  in  the  Tantra- 
sara by  a  Hindu  Tantric  author.  Some  lines  have'  been  added  to  the 
original  Dhyana  and  all  grammatical  errors  are  rectified.  f  This  is 
evidently  the  recognized  method  of  Hinduizing  a  Buddhist  Tantric  deity. 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  191 

It  is  remarkable  that  the  Hindus  retained  in  their  Dhyana  the  effigy 
of  Aksobhya  bespeaking  as  it  does,  the  Buddhist  origin  of  the  goddess, 
for  it  is  well  known  that  the  Hindu  gods  or  goddesses  are  not  in  the 
habit  of  wearing  a  miniature  figure  of  their  sires  on  the  crown.  More- 
over, Aksobhya  is  unknown  in  the  Hindu  pantheon  except  when  he 
is  borrowed  from  the  Buddhists,  and  the  Hindus  fail  to  explain  the 
desirability  of  putting  his  figure  on  the  crown  of  Tara. 

Figs.  135,  136  illustrate  the  Buddhist  form  of  Tara  or  Mahacmatara, 
and  shows  in  what  different  forms  she  is  represented  in  Nepal  in 
modern  times.  It  may  be  pointed  out  that  the  corpse  under  the  feet 
of  the  Hindu  Tara  is  not  a  corpse  properly  speaking,  but  it  is  the 
prostrate  form  of  Mahadeva  to  whom  she  is  attached  as  a  Sakti. 

2.     jANGULf      , 

Jahguli  is  widely  worshipped  amongst  the  Buddhists  as  a  goddess 
who  cures  snake-bite  and  even  prevents  it.  According  to  a  Sahglti 
in  the  Sadhanamala  she  is  as  old  as  Buddha  himself,  and  the  secret  of 
Jahguli  and  the  mantra  for  her  worship  are  said  to  have  been  imparted 
to  Ananda  by  Lord  Buddha.  Besides,  the  Sahglti,  four  Sadhanas  des- 
cribe the  procedure  of  her  worship  and  give  elaborate  mantras  for  the 
extraction  of  poison  from  the  body  of  the  snake^bitten.  These  four 
Sadhanas  describe  three  entirely  different  forms  of  Jahguli,  two  with 
one  face  and  four  arms  and  one  with  three  faces  and  six  arms.  Images 
of  Jahguli  are  found  in  Tibet  l  and  China  -. 

(i) 

Colour — White  Symbol — Snake,  or  Vina 

Mudra — Abhaya 

In  two  Sadhanas  Jahguli  is  described  as  having  one  face  and  four 
arms.  In  both  cases  she  is  alike  in  all  respects  except  for  the  weapons 
she  carries  in  her  hands.  In  one  of  the  Dhyanas  she  is  described  as 
follows  : 

"Atmanarh  Arya*JahguIiruparh  sarvasuklarh  caturbhujarh  ekamuk^ 
ham  jatamukutinim  suklam  suklavasanottariyam  sitaratnalahkara- 
bhusitarh  suklasarpairvibhusitarh  sattvaparyahke  upavistarh  mulabhuja- 
bhyarh  vmarh  vadayantlrh  dvitiyavamabhujena  sirasarpadharimrh  apara* 
daksinenabhayapradam  candrarhsumalimrh  dhyayat..." 

Sadhanamala,  p.  253* 

1,    Getty:  GNB,  p.  123 

Z.    Clark  ;  TLP,  II,  pp.  204,  217,  28 1 


192  BUDDHIST  ICONOGRAPHY 

'The  worshipper  should  meditate  himself  as  Arya  Janguli  who  is 
all  white  in  complexion,  four-armed,  one-faced,  wears  the  Jatamukuta 
and  a  white  scarf.  She  is  decked  in  white  ornaments  of  gems  and  white 
serpents  and  rests  on  an  animal.  She  plays  on  the  Vina  with  the  two 
principal  hands,  carries  the  white  snake  in  the  second  left  and  exhibits 
the  Abhaya  mudra  with  the  second  right,  and  is  radiant  like  the  moon." 

In  a  second  Sadhana  she  is  said  to  exhibit  the  Varada  mudra  in  the 
second  right  hand.  Fig.  137  illustrates  a  Nepalese  drawing  of  the  two- 
armed  form  of  Janguli. 

(ii) 

Colour — Green  Mudra — Abhaya 

Symbols — Trisula,  Peacock's  feathers  and  Snake. 

The  second  variety  resembles  the  first  in  many  respects,  but  the 
Sadhana  ]  does  not  mention  the  animal-seat  or  the  particular  Asana  in 
which  Janguli  should  stand  or  sit.  The  symbols  also  are  different 
namely,  the  Trisula,  peacock's  feathers  and  the  snake.  The  mudra, 
however,  is  the  same  Abhaya  mudra. 

(iii) 

Faces — Three  Arms — Six 

Vahana — Snake  Colour — Yellow 

The  third  variety  of  Jahguii  has  three  faces  and  six  arms.  Two 
Sadhanas  in  the  Sadhanamala,  one  in  prose,  and  the  other  in  verse, 
describe  this  form.  The  Dhyana  contained  in  one  of  these  runs  as 
follows  : 

"Arya-Jahgulirh  atmanam  jhatiti  nispadayet  pltam,  trimukham 
sadbhujarh  nllasitadaksinetaravadanam  kbadgavajrabanadaksinahasta- 
trayam  satarjanipasavisapuspakarmukavamakaratrayam  sphltapha- 
namandalasirahstham  sarvadivyavastrabharanabhusitam  kurrari- 
laksanojjvalam  Aksobhyakrantamastakam  dhyatva..." 

Sadhanamala,  p.  248 

"The  worshipper  should  quickly  conceive  himself  as  Arya-JahgulI, 
who  is  yellow  in  colour,  three-faced,  and  six-armed;  Her  faces  to  the 
right  and  left  are  blue  and  white.  She  carries  the  swordj  the  Vajra  and 
the  arrow  in  the  three  right  hands,  and  the  Tarjani  with  the  noose, 
the  blue  lotus  and  the  bow  in  the  three  left  hands;  She  r£Stfe:  on  the 
expanded  hood  of  the  serpant,  is  decked  in  celestial  ornaments  and 
dress,  is  resplendent  with  the  auspicious  marks  of  a  virgin,  and  bears 
the  image  of  Aksobhya  on  head.  Thus  meditating,.." 

1.    Sadhana  No.  121,  Sadhanamala  p.  251. 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  193 

The  Hindu  goddess  Manasa  or  Visahari  has  a  marked  resemblance 
to  the  appearance  of  Janguli  and  some  of  the  Dhyanas  in  the  Hindu 
Tantric  works  for  the  goddess  distinctly  give  her  the  epithet  of 
"Jahgull". 


3.     EKAJATA. 
Colour  —  Blue  Appearance  —  Terrible 

Attitude—  Pratyalldha 

Ekajata  is  one  of  the  most  powerful  goddesses  in  the  Vajrayana 
pantheon.  It  is  said  in  the  Sadhanamala  that  if  a  person  listens 
to  her  mantra  but  once,  he  is  at  once  freed  from  all  obstacles 
and  is  attended  always  with  good  fortune,  his  enemies  are  destroyed 
and  he  becomes  religiously  inclined,  even  attaining  the  level  of  a 
Buddha.  Four  Sadhanas  in  the  Sadhanamala  dovoted  to  the  worship 
of  Ekajata,  describe  three  different  forms  of  the  goddess.  She  may 
have  one  face  with  two,  four  or  eight  arms. 

The  main  features  of  the  goddess  aie  given  in  one  of  the 
Sadhanas,  the  Colophon  of  which  asserts  that  the  Sadhana  has 
been  restored  from  Tibet  (  Bhota  )  by  Arya  Na^arjuna,  who  was 
famous  in  the  mediaeval  ages  as  one  of  the  eighty-four  Siddhapu* 
rusas  of  India.  The  general  description  of  the  goddess  given  in 
the  Sadhana  is  as  follows  : 

"Krsnavarna  matah  sarvah  vyaghra-carmavrtah  katau     I 
Ekavaktrah  trinetrasca  pihgordhvakesamurdhajSh     II 
Kharva  lambodara  raudrah  pratyalidhapadasthitah    I 
Sarosakaralavaktra  mundamalapralambitah     II 
Kunapastha  mahabhima  Maulav-Aksobhyabhusitah     I 
Navayauvanasampannah  ghoiattahasabhasvarah     II 
Visvapadmopari  suryye  cintamyah  prayatnatah"     II 

Sadhanamala  p.  266. 

"All  these  (three)  forms  (of  Ekajata)  are  of  blue  colour,  have 
the  tiger'skin  round  their  loins,  are  one-faced  and  three*eyed,  and  have 
brown  hair  rising  upwards  on  their  head.  They  are  short,  pot- 
bellied, wrathful  and  stand  in  the  Pratyalldha  attitude,  they  have 
faces  distorted  with  anger  ;  with  garlands  of  heads  hanging  from 
their  necks,  they  rest  on  corpses,  are  terrible  in  appearance  and 
bear  the  image  of  Aksobhya  on  the  crown.  They  have  youthful 
bloom  and  laugh  horribly  and  they  should  be  conceived  on  the 
orb  of  the  sun  over  the  double  lotus." 

25 


194 


BUDDHIST  ICONOGRAPHY 


This  general  description    oaly    applies    to  the    following    three 
forms  of  Ekajata  with  one  face  and  two,  four  or  eight  arms  : 
4      (i)    When  two-armed,   she  carries    the    Kartri    and    the    Karota 
(skull-cup)   in  her  two  hands     (Fig.  138). 

(ii)  When  four-armed,  Ekajata  carries  the  arrow  and  the  sword 
in  the  two  right  hands  and  the  bow  and  the  skull  in  the  two 
left.  In  two  other  Sadhanas  describing  the  four-armed  variety,  her 
appearance  undergoes  a  slight  modification.  Here  she  holds  in  the 
first  pair  of  hands  the  Kapala  and  the  Kartri,  while  the  other 
pair  shows  the  Utpala  and  the  sword.  She  may  hold  also  the 
rosary  instead  of  the  sword  (Fig.  139). 

(iii)  When  eight-armed,  she  carries  the  sword,  the  arrow,  the 
Vajra  and  the  Kartri  in  the  four  right  hands  and  the  bow,  the  Utpala, 
the  Parasu  and  the  skull  in  the  four  left  hands. 

Images  of  Ekajata  are  found  in  almost  all  Buddhist  countries  of 
the  North.  She  is  known  in  Tibet  l  as  well  as  in  China  L>. 

"^      4*    VIDYUJJVALAKARALL 
Faces — Twelve  Arms — Twenty-four 

Colour — Blue  Asana— -Pratyalldha 

Vahana — Indra,  Brahma,  Visnu  and  Siva 

SYMBOLS  : 

Left 

1.  Bow  7.  Wine-glass 

2.  Noose  8.  Utpala 

3.  Tar  jam  9.  Bell 

4.  Banner  10.  Parasu 


Right 

1.  Khadga         7.    Dart 

2.  Vajra 

3.  Cakra 

4.  Jewel 

5.  Ankusa 

6.  Arrow 


8.  Mudgara 

9.  Musala 

10.  Kartri 

11.  Damaru 

• 

12.  Rosary 
Another  variety    of    Ekajata    is 


10. 

5.  Mace        11.     Brahmasiras 

6.  Trisula     12.     Kapala 

known      as      Vidyujjvalakarali, 


who  is  said  to  have  originated  from  the  sweat  of  Buddha.  This 
form  of  Ekajata,  with  twelve  faces  and  twenty-four  arms,  is  rarely 
met  with  in  sculptures  either  in  stone  or  in  bronze.  The  Dhyana 
is  rather  long  and  it  describes  the  goddess  vividly  thus  : 

"Dvadasamukham  mahakrsnavarnam  caturvimsatibhujam  caturmar- 
asamakrant§m  svetakapalopari  pratyalldhapadam  mahapralayagnisa- 
maprabham  vivrtasyam  hahakaram  lalajjihvam  sarosam  vikrtakoti* 
bhimabhrkutltatodbhrunetracaladvartulam  bhayasyapi  bhayahkarlm 


1.  Gordon:    ITL,  p.  76,  Getty:    GNB,  pp.   125-126 

2.  Clark:    TLP,  II.  p.  284 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  195 

kapalamSla  sirasi  bhusitam  vyadairalafikrtam  sanmudropetam  pratha- 
mamukharh  mahakrsnam  tatha  daksinamukhapancakam  sitapitaharita- 
raktadhumravarnanca,  vamamukhapancakam  raktasitapitaharitasitarak- 
tanca,  urdhvamukham  dhumram  vikrtam  kruddham,  sarvamukhani 
damstrakaralavadanani,  trinetrani,  jvalitordhvapihgalakesani  ,  sarosam 
kharvalambodarirh  pmonnatapayodharam  vyaghracarmanivasanam  dak- 
sinadvadasabhujesu  khadga-vajra-cakra-ratnacchat-ahkusa-sara-sakti'inu- 
dgara-musala-kartri'damaru'aksamalikafica,  vamadvadasabhujesu  dha- 


asirah-kapalanca. 

Suprahrstam  savarudham  nagastakavi  bhusitam     I 
Navayauvanasampannarh  hahattahasa-bhasuram    II 
Pihgograikajatam  dhyayat  maulav-Aksobhya'  bhusitam     II 

Iti  Vidyujjvalakaralinamaikajatasadhanam  " 

Sadhanamala,  p.    257 

"The  worshipper  should  conceive  himself  as  (Vidyujjvalakarali) 
who  has  twelve  faces,  deep  blue  colour  and  twenty-four  arms, 
she  tramples  upon  the,  four  Maras  (Brahma,  Visnu,  oiva  and  Indra), 
stands  on  white  skulls  in  the  Pratyalldha  attitude,  is  terrible  like 
the  Fire  of  Destruction,  has  a  wide  open  mouth  from  which 
comes  the  sounds  of  'ha'  *ha'.  She  has  protruding  tongue,  is  wrath- 
ful, has  eyes  round  and  moving,  and  her  forehead  is  distorted 
owing  to  the  frequent  contortions  of  the  brows.  She  is  more  awe- 
inspiring  than  Awe  itself,  and  her  head  is  decorated  with  a  garland 
of  skulls  ;  she  is  decked  in  ornaments  of  snake,  and  is  endowed 
with  the  six  auspicious  symbols  ;  her  first  face  is  of  deep  blue 
colour  and  the  five  faces  to  the  right  are  white,  yellow,  green, 
red  and  smoky  in  colour  ;  the  five  faces  to  the  left  are  of  red, 
white,  yellow,  green  and  whitish  red  colour.  The  face  on  the  top 
is  of  the  colour  of  smoke,  distorted  and  displays  anger.  AH  her 
faces  look  terrible  with  bare  fangs  and  three  eyes  ;  her  brown  hair 
rise  upwards  in  the  shape  of  a  flame  ;  she  is  short  and  has  a 
protruding  belly.  Her  breasts  are  full  and  heaving  ;  she  is  clad 
in  tiger-skin,  and  carries  in  her  twelve  right  hands,  1.  the  sword, 
2.  the  thunderbolt,  3.  the  discus,  4-  'the  jewel,  5.  the  elephant*goad, 
6.  the  arrow,  7.  the  dart,  8.  the  hammer,  9.  the  pestle,  10.  the  saw,  11.  the 
drum  and  12.  the  rosary  ;  and  in  her  twelve  left  hands  she  has  1.  the 
bow,  2.  the  noose,  3.  the  raised  index  finger,  4.  the  flag,  5.  the  mace,  6.  the 
trident,  7.  the  wine-glass,  8.  the  blue  lotus,  9.  the  bell,  10..the  axe,  11. 
the  severed  hea*d  of  BrahrtiS,  12.  and  the  skull.  In  an  extremely  happy 


196  BUDDHIST  ICONOGRAPHY 

irtood  she  rides  a  corpse,  is  youthful,  appears  resplendent  with 
terrible  laugh,  wears  a  Jatamukuta,  which  is  brown  and  fiery  and 
which  bears  the  image  of  Aksobhya  on  it." 

Here  ends  the   Sadhaha  for   Vidyujjvalakarali,   anocher    form    of 
Ekajata." 


(   5.  PARNASABARI. 

Colour  —Yellow  Fa  ces  —  T  hree 

Arms  —  Six  Vahana  —  Vighnas 

Asana  —  Pratyalldha 

The  worship  of  Parnasabari,  it  is  believed,  is  effective  in  pre- 
venting out-breaks  of  epidemics  and  in  assuring  safety  to  the  terror- 
striken,  The  epithet  Tisac?  given  in  the  mantra  shows  that  she 
was  regarded  as  one  of  the  demi-gods,  half  human,  half  divine.  Two 
Sadhanas  in  the  Sadhanamala  describe  two  forms  of  the  goddess, 
one  with  the  image  of  Aksobhya  on  the  crown  and  the  other 
^ith  that  of  Amoghasiddhi.  In  one,  her  faces  are  lit  with  pleasant 
Smiles,  and  in  another  she  smiles  but  has  an  irritated  expression 
ill  the  same.  Curiously  enough,  the  two  images  that  have  been 
discovered  in  Eastern  Bengal,  both  have  the  effigies  of  Amoghasiddhi 
on  the  crown.  The  Dhyana  describing  Parnasabari  of  yellow  colour 
with  the  image  of  Aksobhya  on  her  crown,  runs  as  follows  : 

"Bhagavatim  pltavarnam  trimukharh  trinetram  sadbhujarfa  prathama- 
mukham  pitam,  daksinam  sitam  vamam  raktam,  lalitahasinim  sarva 
lankaradharam  parnapicchikavasanam,  navayauvanoddhataih  plnarh... 
daksinabhujaih  vajraparasusaradharimrh  vamabhujaih  satarjanikapasa- 
parnapicchikadhanurdharimm  puspavabaddhajatamukutastha-Akso- 
bhyadharimm  suryyaprabhamandalinlm  adho  vighnan  nipatya  sita* 
padmacandrasane  pratyalldhastham,  hrdvamamustitarjanyadho  vigh- 
naganan  santarjya  daksinavajramustipraharabhinayam  ..bhavayet. 

Parnasabarl-Sadhanam"  Sadhanamala,  pp.  306-307. 

**The  worshipper  should  conceive  himself  as  (Parnasabari)  of 
yellow  complexion,  with  three  faces,  three  eyes  and  six  arms.  Her 
first  face  is  blue,  the  right  white  and  the  left  red,  and  she  smiles  in  a 
pleasing  manner.  She  is  decked  in  all  sorts  of  ornaments,  bears  a  gar- 
ment of  leaves,  is  arrogant  in  her  youthful  blopm,  is  stout  in  appear- 
ance  and  carries  in  her  right  hands  the  Vajr?,  the  Parasu  and  the  arrow, 
and  in  her  left  the  Tarjam  with  the  noose,  the  cluster  -  of  leaves  and 
the  bow.  Her  Jatamukuta  is  decorated  with  flowers  and  the  image  of 
Aksobhya  ;  she  has  the  effulgence  of  the  sun  as  her  aureole,  stands  in 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  197 

the  Pratyalldha  attitude  on  the  moon  over  the  white  lotus,  trampling 
under  her  feet  the  Vighnas.  She  threatens  the  host  of  (otherj  Vighnas 
with  the  clenched  fist  of  the  left  hand  exhibiting  the  TarjanI  against  the 
chest,  and  shakes  her  right  fist  at  (the  host  of  the  Vighnas)  .." 

The  mutilated  image  (Fig.  140)  in  the  Indian  Museum,  with  three 
faces  and  six  arms  trampling  upon  Ganesa,  probably  represents  this 
form  of  Parnasabarl,  as  the  word  'Vighna'  in  the  Sadhanamala  often 
refers  to  Ganesa.  The  above-mentioned  Sadhana,  further  states  that 
Parnasabarl  may  have  an  alternative  form  with  four  arms  and  the  image 
of  Aksobhya  on  the  crown,  in  which  case  she  will  carry  the  Vajra  and 
the  Parasu  in  the  two  right  hands,  and  the  TarjanI  with  the  noose,  and 
the  cluster  of  leaves  in  the  two  left,  omitting  the  bow  and  the  arrow. 

Images  of  Parnasabari  are  also  found  in  Tibet  !  and  in  China  ~. 

6.    PRAJNAPARAMITA 

Prajnaparamita  is  the  embodiment  of  the  Mahayana  Scripture  of 
the  same  name  which  was,  according  to  the  Buddhist  tradition,  restored 
from  the  nether  regions  by  Nagarjuna  in  the  second  century  A.  D. 
Buddha  is  said  to  have  entrusted  this  Book  of  Transcedental  Knowledge 
to  the  care  of  the  Nagas  in  the  nether  regions,  as  in  his  time  people 
were  not  sufficiently  intelligent  to  grasp  the  true  meaning  of  the  doc- 
trines it  contained.  The  worship  of  Prajnaparamita  was  very  popular 
among  the  Buddhists,  and  Arya  Asahga  is  credited  to  have  composed 
one  of  the  Sadhanas  for  her  worship  which  is  said  to  confer  wisdom 
and  erudition  on  her  devotees  Nine  Sadhanas  in  the  Sadhanamala 
describe  the  procedure  of  her  worship,  and  of  these  only  two  are  assign- 
ed to  the  kula  of  the  Dhyani  Buddha  Aksobhya.  She  too,  like  Manjusri, 
could  not  be  assigned  to  any  one  of  the  Dhyani  Buddhas  because  the 
Prajnaparamita  scripture  was  chronologically  earlier  than  the  Dhyani 
Buddhas.  The  two  Sadhanas  describe  the  white  and  the  yellow  forms 
of" the  goddess.  Images  8  of  Prajnaparamita  are  found  in  Tibet  4  and 
China  s. 

(i)    SITAPRAJNAPARAMITA 

Colour — White  Asana — Vajraparyahka 

Symbols — Lotus  and  Book 

Only  one  Sadhana  in  the  Sadhanamala  describes  the  form  of  white 
Prajnaparamita  with  the  image  of  Aksobhya  on  the  crown.  She  is  two* 

f  1.  Gordon  :  ITL,  p.  71  ;  Getty  :  GNB,  pp.  134-135. 

*  2.  Clark  :  TLP,  II,  p.  278 

"    3.  See  Bhattasali :  IBBS,  p.  42. 

4.  Getty:  GNB,  pp.  131-132. 

5,  Clark  :  TLP,  It,  pp.  140,  160. 


198  BUDDHIST  ICONOGRAPHY 

armed,  one-faced,  sits  in  the  Vajraparyanka  attitude  on  a  white  lotus, 
and  carries  the  red  lotus  in  the  right  hand  and  the  Prajnaparamita 
Book  in  the  left.  She  is  decked  in  all  sorts  of  ornaments,  has  a 
beautiful  face  and  pleasant  expression,  unlike  other  emanations  of 
Aksobhya.  The  Dhyana  runs  as  follows  : 

"Dvibhujam  ekavadanam  sitavarnam  manoramam    I 
Ardhacarcarakesanca  svetambhoruhasarhsthitam     II 
Padmam  daksinahaste  tu  raktavarnam  vibhavayet    I 
Prajnaparamitam  vame  vajraparyahkasamsthitam     II 
Sarvalahkarasampurnam  bhavayennabhimandale     I 
Ankarajnanasambhutam  paramanandakarinim    II 
.  Aksobhyamudrita  ceyarh 

Sukla*Prajnaparamita-Sadhanam'\ 

Sadhanamala,  pp.  310-311. 

The  worshipper  should  meditate  on  the  navel  the  form  of  Sitapra- 
jnaparamita,  as  two-armed,  one-faced,  white  in  colour,  and  beautiful 
in  appearance,  with  half  curly  hair,  as  sitting  on  the  white  lotus,  carry- 
ing in  her  right  hand  the  red  lotus,  and  the  Prajnaparamita  Book  in  her 
left.  She  sits  in  the  Vajraparyahka  attitude,  and  is  decked  in  all  sorts  of 
ornaments.  She  originates  from  the  knowledge  of  the  letter  *Am'  and 
releases  immense  delight...  This  goddess  is  stamped  with  the  image  of 
Aksobhya  (on  the  crown)." 

(ii)    PlTAPRAJNAPARAMITA 
Colour — Yellow  Mudra — Vyakhyana 

Distinctive  Mark — Book  on  lotus  to  the  left. 

The  yellow  variety  of  Prajnaparamita  with  the  effigy  of  Aksobhya 
is  identical  in  form  with  the  one  described  above,  except  with  regard 
to  the  colour  and  the  rnudra.  She  is  yellow  in  complexion,  bears  the 
image  of  Aksobhya  on  her  Jatamukuta,  wears  celestial  ornaments,  and 
her  two  hands  display  the  Vyakhyana  attitude*  On  a  lotus  to  her  left 
rests  the  scripture  Prajnaparamita  1 . 

The  celebrated  image  of  Prajnaparamita  (Fig.  141)  of  Java  belongs 
to  this  variety,  and  tallies  in  all  details  with  the  description  given  in  the 
Dhyana. 


1.     SidhanaNo.  158,  Sadhanamala,  p.  321 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  199 

(iii)    KANAKAPRAJNAPARAMiTA 

Colour— Golden  Mudra — Dharmacakra 

Asana — Vajraparyanka 
Symbol — Book  on  lotus  on  two  sides. 

This  form  of  Prajnaparamita  is  identical  in  all  respects  with  one 
of  the  forms  described  previously.  The  difference  lies  in  the  fact  that 
although  she  exhibits  the  Dharmacakra  mudra  with  her  two  hands, 
there  are  two  books  on  two  lotuses  rising  from  under  her  two  arm-pits. 
She  is  golden  in  colour  l.  The  Java  figure  of  Prajnaparamita  illustra- 
ted previously  has  only  one  lotus  bearing  the  book  in  her  left,  but  the 
Indian  Museum  image  (Fig.  142)  with  two  lotuses  on  either  side,  each 
bearing  a  manuscript,  may  definitely  be  identified  with  this  variety  of 
Prajnaparamita. 

7.    VAJRACARCIKA 

Asana — Dancing  in  Ardhaparyahka  Arms — Six 

Colour — Red  Distinctive  feature — Emaciated  body 

Vahana — Corpse  Appearance — Terrible 

Only  one  Sadhana  in  the  Sadhanamala  describes  the  form  of 
Vajracarcika  and  the  Dhyana  contained  therein  runs  as  follows  : 

"Vajracarcikam  trinetrarh  ekamukhim  ardhaparyahkatandavam 
mrtakasanastharh,  krsangim  damstrotkatabhairavarh  narasiroma- 
lavibhusitakanthadesam  asthyabharanavibhusitam  pancamudradharimm 
Aksobhyamukutinirh  vyaghracarmanivasanam  muktakesim  sadbhujam 
daksine  vajrakhadgacakradharinlm  vame  kapalamanikamaladharam 
raktavarham  karmanurupatah  sukladivarnayuktanca  dhyatva" 

Sadhaiiamala,  p.  395. 

4The  worshipper  should  conceive  himself  as  Vajracarcika,  who  is 
three^eyed  and  one^faced,  dances  in  the  Ardhaparyahka  attitude  on  a 
corpse,  is  emaciated  in  appearance  and  looks  terrible  with  bare  fangs. 
Her  neck  is  embellished  by  a  garland  of  human  heads,  and  she  is 
decked  in  ornaments  of  bones,  is  endowed  with  the  five  auspicious 
symbols,  bears  the  image  of  Aksobhya  on  the  crown,  is  clad  in 
garments  of  tiger<skin  and  has  dishevelled  hair.  She  is  six-armed  and 
carries  in  her  three  right  hands  the  Vajra,  the  sword,  and  the  Cakra 
and  in  her  three  left  the  Kapala,  the  jewel  and  the  lotus.  She  is  red  in 
colour  but  changes  to  white  and  other  colours  in  accordance  with 
the  different  purposes  for  which  she  is  invoked.  Thus  meditating..." 

r    Sadhana  No,  154,  Sadhaaamala,  pp.  313-314 


200  BUDDHIST  ICONOGRAPHY 

The  accompanying  sketch,  (Fig.  143)  gives  a  vivid  idea  of  her  terrible 

form,  with  the  skeleton  of  her  fleshless  body  showing  through  the 
skin  in  all  its  nakedness,  and  her  vulture-like  claws  enhancing  the 
fierceness  of  her  appearance. 

A  statuette  of  this  goddess  is  found  in  China  } . 

8.     M  AHAM  ANTRANUSARINL 

Colour — Blue  Arms — Four 

Mudra — Varada 

The  remarks  made  in  the  case  of  Mahasltavati,  an  emanation  of 
Amitabha  and  one  of  the  Pancaraksa  goddesses,  apply  to  the  case  of 
Mahamantranusarim  also.  This  goddess  is  another  of  the  Pancaraksa 
goddesses,  and  as  her  colour  is  blue,  she  affiliates  herself  to  the 
family  of  the  Dhyani  Buddha  Aksobhya  Only  one  short  Sadhana  des- 
cribes her  form,  and  theDhyana  contained  therein  is  as  follows  : 

"Mahamantranusarim  caturbhujaikamukhi  krsna  daksinabhujadvaye 
vajravaradavati  vamabhujadvaye  parasupasavau  Humkarabija  Aksobhya- 
kintim  suryyasanaprabha  ceti" 

Sadhanamala,  p.  401. 

1  'Mahamantranusarim  is  four-armed  and  one- faced,  is  blue  in 
complexion,  shows  in  her  two  right  hands,  the  Vajra  and  the  Varada 
mudra  and  in  her  two  left  the  Parasu  and  the  noose.  She  originates 
from  the  syllable  "Hurh'\  bears  the  image  of  Aksobhya  on  the  crown, 
sits  on  and  glows  like  the  sun." 

Images  of  this  deity  are  known  in  Tibet  *J  and  China  *'. 

9.     MAHAPRATYANGIRA 
Colour — Blue  Arms — Six 

One  short  Sadhana  only  is  assigned  in  the  Sadhanamala  to  Maha- 
pratyafigira.  The  Dhyana  describing  her  form  is  as  follows  : 

*'Mahapratyahgira  krsna  sadbhujaikamukha  khadgankusavarada- 
daksinahasta  raktapadmatrisula-hrdayasthasapasatarjamyuktavamahasta 
Humblja  Aksobhyamukuta  sarvalahkaravati  rupayauvanasampanna". 

SSdhanamala,  p.  402. 

1.  Clark  :  TLP,  II,  p.  269. 

2.  Gordon  :  ITl,  p.  76 

3.  As  Mantramidharanl  she  occurs  in  Clark  :  TLP,  II,  pp.  205*275. 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  201 

"Mahapratyahgira  is  blue  in  colour,  six-armed,  and  one-faced.  She 
shows  in  her  three  right  hands  the  sword,  the  goad,  and  the  Varada 
mudra,  and  in  her  three  left  hands  she  holds  the  Tarjam  with  the  noose 
against  the  chest,  the  red  lotus  and  the  trident  ;  she  originates  from 
the  syllable  "Hum",  bears  the  image  of  Aksobhya  on  her  crown,  is 
decked  in  all  sorts  of  ornaments,  and  is  young  and  beautiful. 

Figs.  144  and  145  illustrate  two  Nepalese  drawings  of  the  goddess 
Mahapratyangira.  They  conform  to  the  description  given  in  the 
Sadhana.  The  ivory  image  from  Nepal  (Fig  146)  with  innumerable  heads 
is  also  worshipped  as  Mahapratyangira.  This  goddess  is  found  also  in 
China  !. 

10.    DHVAJAGRAKEYURA 

Two  Sadhanas  in  the  Sadhanamala  describe  two  widely  different 
forms  of  Dhvajagrakeyura.  In  one  the  effigy  of  Aksobhya  on  the  crown 
is  expressly  mentioned,  but  in  the  other,  the  Dhyani  Buddha  is  absent. 
The  weapons  are  also  different,  and  in  one  case  she  is  three-faced  and 
in  the  other  four-faced.  In  all  other  respects,  however,  the  forms  are 
identical. 

Images  of  Dhvajagrakeyura  are  found  in  China  -. 

(i)     Three-Faced. 

Colour— Blue  Faces  —Three 

Arms — Four  Appearance — Terrible 

Asana — Pratyalidha 

The  Dhyana  describing  Dhvajagrakeyura,  with  three  faces  and  four 
arms  and  with  the  effigy  of  Aksobhya,  runs  as  follows  : 

"Dhvajagrakeyura  krsna  trimukhl  caturbhuja  raktasyamadaksina^ 
vamamukhi  khadgapasadharidaksinakaradva^  a  vajrankitakhatvahgaca* 
kravamahastadvaya  urdhvapifigalakesi  suskapancamundalahkrtasiraska 
vyaghrajinavasana  damstrakaralamukhl  pralambodari  pratyalidhapada 
suryasanaprabha  pltavastrakancukim  Humbija  Aksobhyamukuta." 

Sadhanamala,  p.  403 

"Dhvajagrakeyura  is  blue  in  colour,  three-faced,  and  four-armed, 
with  the  right  and  left  faces  of  red  and  green  colour  (respec- 
tively). She  carries  the  sword  and  the  noose  in  the  two  right  hands, 
and  the  Khatvahga  stamped  with  a  Vajra  and  the  Cakra  in  the  two  left, 

l7  Clark  :  TLP  II,  pp.  200,   289. 
2.    Clark  :  TLP  II,  pp.  200,  289. 

26 


202  ,   ,  .      BUDDHIST  ICONOGRAPHY 

has  brown  hair  rising  upwards  on  her  head  which  is  embellished  by  a 
row  of  five  shrivelled  heads.  She  wears  garments  of  tiger-skin,  and  has 
faces  distorted  with  bare  fangs.  She  has  a  protruding  belly,  stands  in 
the  Pratyalidha  attitude,  has  her  seat  on  and  glows  like  the  sun,  wears 
yellow  garments  and  jacket,  originates  from  the  syllable  'HunY  and 
bears  the  image  of  Aksobhya  on  the  crown". 

(ii)     Four — Faced 

Faces— Four  Arms— Four 

Colour — Yellow 

As  already  pointed  out,  Dhvajagrakeyura  has  another  form,  with 
four  faces  and  four  arms  carrying  the  sword  and  the  Cakra  in  the  two 
right  hands,  and  the  Tarjanipasa  and  the  Musala,  marked  with  a  Vajra, 
in  the  two  left.  A  Trisula  hangs  from  her  left  shoulder.  Her  first  face 
is  yellow,  left  red,  right  white,  and  the  face  above  is  distorted  and  is 
of  the  colour  of  smoke.  In  all  other  respects  her  form  is  identical  with 
the  one  described  above. 

Fig.  147  illustrates  a  Nepalese  drawing  of  the  goddess. 

11.    VASUDHARA 

Mudra — Varada  Symbol — Ears  of  Corn 

Colour — Yellow 

Vasudhara  figures  in  the  pantheon  of  the  Mahayana  Buddhists  as 
the  consort  of  Jambhala,  the  Buddhist  god  of  wealth.  Only  three  Sadha- 
nas  are  devoted  to  her  worship  and  in  one  of  these  only  is  she  said  to 
bear  the  image  of  Aksobhya.  The  two  others  assign  her  to  the  Dhyani 
Buddha  Ratnasambhava.  It  may  be  noticed,  by  the  way,  that  Vasu- 
dhara  is  of  a  greater  antiquity  than  the  Dhyani  Buddhas  themselves. 
The  Dhyana  describing  the  goddess  with  the  figure  of  Aksobhya  on  the 
crown  runs  as  follows  : 

"Vasudharam  Bhagavatim  dhyayat,  kanakavarnam  sakalalankarava* 
tim  dvirastavarsakrtim  daksinakarena  varadam,  vamakarena  dhanyama- 
njaridharam  Aksobhyadharinim.  Purato  Bhagavatim  Srivasundharam 
daksinato  Vasusriyam  pascimatah  Srivasumukhim,  vamato  Vasumati- 
sriyam  ;  etascadyaksarabijah  svanayikasamanarupascintaniyah.'' 

Sadhanamala,  p.  421 

"The  worshipper  should  conceive  himself  as  the  goddess  Vasudhara 
of  golden  complexion  and  decked  in  all  sorts  of  ornaments.  She  ap- 
pears a  young  girl  of  twice  eight  years,  exhibits  the  Varada  mudra  in 

1.    Sadhana  No.  210  in  the  Sadhanamala,  pp.  415,  416. 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  203 

the  right  hand,  carries  the  ears  of  corn  in  the  left,  and  bears  the_  imag< 
jof  Aks^tmjon  the  crown) ."  In  front  ofThe  goH3ess  should  be  con 
ceived  SrlvasunBhara,  in  the  right  Vasusri,  in  the  west  Srivasumukhi,  anc 
in  the  left  Vasumatisn.  These  four  goddesses  originate  from  the  firs 
syllables  of  their  names,  and  are  identical  in  form  with  the  principa 
goddess' '. 

Images  of  Vasudhara  are  found  in  the  Buddhist  countries  of   th< 
North  including  Tibet  l. 

12.     NAIRATMA. 
Asana — Dancing  in  Ardhaparyahka 
Colour — Blue  Appearance — Terrible 

Vahana — Corpse  lying  on  its  back.         Symbols — Kartri  and  Kapala. 

Two  Sadhanas  in  the  Sadhanamala  describe  her  form,  which  is  in 
many  respects,  similar  to  the  form  of  Vajravarahl  with  the  Kartri  and 
the  Kapala,  the  principal  point  of  difference  being  the  position  of  the 
corpse  which  forms  their  Vahana,  When  it  lies  on  its  chest  it  is  Vajra- 
varahl, but  if  it  lies  on  its  back  the  goddess  is  Nairatma.  There  are 
other  distinguishing  features  also  For  instance,  Vajravarahl  being  an 
emanation  of  Vairocana,  should  bear  the  image  of  Vairocana  on  the 
crown  ;  while  Nairatma,  being  an  emanation  of  Aksobhya,  should  bear 
the  image  ot  Aksobhya  instead.  Moreover,  the  excrescence  near  the 
the  right  eai  of  Vajravarahl  must  be  absent  in  the  case  of  Nairatma. 
In  all  other  respects  there  is  a  remarkable  resemblance  between  the  two. 
The  Dhyana  in  one  of  the  two  Sadhanas  describe  the  form  of  Nairatma 
in  the  following  terms  :  p 

"Savahrccandrasthardhaparyahkanatyasthitam  Nairatmam  krsnam 
ekamukham  urdhvapiiigalakesam  Aksobhyamukutmim  damstrakaralay 
lalajjihvam,  daksinena  kartridharimm,  vame  kapalakhatvahgadharimm, 
raktavartulatrinetram  pancamudravibhusanarii  (dhyayat)."' 

Sadhanamala,  p.  451 

4 The  worshipper  should  conceive  himself  as  Nairatma  who  stands 
in  the  Ardhaparyahka  in  a  dancing  attitude  on  the  moon  over  the  chest 
of  a  corpse.  She  is  blue  in  colour,  has  brown  hair  rising  upwards,  and 
bears  the  image  of  Aksobhya  on  her  crown.  Her  face  looks  terrible 
with  bare  fangs  and  protruding  tongue,  and  she  carries  the  Kartri  in  the 
right  hand  and  bears  the  Kapala  and  the  Khatvahga  in  the  left.  Her 
tbi&e  eyes  are  red  and  round,  and  she  is  endowed  with  the  five  auspi* 
cious  symbols." 

1.    Gordon :  ITt,  p.  72  ;  Getty :  GNB,  p.  174. 


204  BUDDHIST  ICONOGRAPHY 

The  word  'Nairatma'  means  'no-soul*  and  is  another  name  for  Sunya, 
in  which  the  Bodhisattva  merges  on  the  attainment  of  Nirvana.  Gra- 
dually, the  conception  of  Sunya  took  the  form  of  a  goddess  in  whose 
embrace  the  Bodhisattva  is  said  to  remain  in  eternal  bliss  and  happi- 
ness, Nairatma  gets  the  blue  colour,  because  the  colour  of  Sunya 
according  to  the  Buddhist  tradition,  is  like  the  colour  of  the  sky,  which 
is  blue. 

The  Indian  Museum  image  No.  3941  (Fig.  148)  is  the  only  image  of 
this  goddess  which  conforms  to  the  description  given  in  the  Sadhana 
just  quoted.  Here  the  goddess,  in  accordance  with  the  Dhyana,  has 
a  terrible  appearance  with  canine  teeth,  garland  of  heads  and  three  eyes 
rolling  in  anger.  She  stands  on  the  corpse  lying  on  its  back,  and 
dances  in  the  Ardhaparyahka  attitude*  Burning  flames  radiate  from 
her  person,  and  her  hair  rise  upwards  in  the  shape  of  a  flame.  She  is 
decked  in  the  five  auspicious  symbols,  the  Kanthika  (torque),  Rucaka 
(bracelets),  Ratna  (jewels),  Mekhala  (girdle),  and  Bhasma  (ashes)  or  the 
Sutra  (sacred  thread)  in  the  form  of  a  garland  of  heads.  She  bears  the 
image  of  her  sire  Aksobhya  on  her  crown  and  carries  the  menacing 
Kartri  in  the  right  hand.  The  left  hand  holding  the  Kapala  is  broken. 
The  Khatvafiga,  as  usual,  hangs  from  her  left  shoulder. 

The  Vangiya  Sahitya  Parishat  bronze  (Fig.  149)  shows  the  above 
characteristics,  but  the  Khatvafiga  is  lost.  It  is  lost  in  the  same  way  as 
small  weapons  in  Nepalese  and  Tibetan  bronzes  are  often  found 
missing.  Nairatma  is  popular  in  China  1 . 

13.    JNANADAKINL 
Colour — Blue  Faces — Three 

Arms — Six  Kulesa — Aksobhya 

Jnanadakini  is  the  principal  deity  of  the  Jnanadakim  Mandala  of  the 
Nispannayogavali.  She  is  described  thus  : 

"Jnanadakim  nilasya...savyam  suklarh...vamam  raktasrhgaraih... 
daksinabhujatraye  urdhvikrtakhatvangam  parasurh  vajranca  vamatraye 
ghantaraktapurnakapalakhadgah."  NSP,  p.  12 

"Jnanadakini  has  a  blue  face.. .the  right  is  white... the  left  is  red  and 
amorous... In  the  three  right  hands  she  carries  the  raised  Khatvanga, 
the  axe  and  the  Vajra.  In  the  three  left  there  are  the  bell,  the  cup  full  of 
blood  and  the  sword/' 

Jnanadakini  is  represented  in  the  Chinese  collection  2, 

1.  Clark:  TLPf  II.  pp.  61,  238 

2.  Clark  :  TLP,  II,  p.  237 


EMANATIONS  OF  AKSOBHYA  (CONTINUED)  205 

14.    VAJRAVIDARANi 

VajravidaranI  is  described   in  the  Dharmakosasangraha  of  Amiv 
tananda  as  follows  : 

"Vajravidarani  pancamukhi  dasabhuja  ;  dakse  ankusa-khadga-sara- 
vajra-varada  ;  vame  pasa-carma-dhanU'dhvaja'abhaya  pratyalidhasana". 

Dharmakosasahgraha  Fol.  44A. 

"Vajravidarani  is  five^faced,  ten-armed,  carries  in  the  right  hands 
the  goad,  the  sword,  the  arrow,  the  Vajra,  and  the  Varada  mudra,  and 
in  the  left  the  noose,  the  shield,  the  bow,  the  flag  and  the  Abhaya  pose. 
She  stands  in  the  Pratyalldha  attitude". 

Fig.  150  illustrates  a  miniature  painting  of  the  goddess  in  the  collec- 
tion of  Dr.  Evans-Wentz. 


CHAPTER  VIII 

EMANATIONS  OF  VAIROCANA 

According  to  the  Sadhanamala  all  the  deities  that  emanate  from  the 
the  Dhyani  Buddha  Vairocana  have  generally  the  white  colour  or  the 
colour  assigned  to  Vairocana.  Several  goddesses  have  the  images  *of 
Vairocana  on  their  crowns,  thus  showing  that  they  are  all  emanations 
of  this  particular  Dhyani  Buddha.  Some  of  the  deities  are  expressly 
stated  in  the  Sadhanas  to  be  "Vairocanakulodbhava"  or  "born  of  the 
family  of  Vairocana"  The  deities  emanating  from  this  Dhyani  Buddha 
are  said  to  reside  in  the  interior  of  the  Caitya,  since  Vairocana,  it  may 
be  remembered,  is  the  lord  of  the  sanctum  of  the  temple  or  the  Stupa. 
Among  the  deities  emanating  fiom  Vairocana  Marici  seems  to  the  first 
in  importance  and  popularity.  She  is  even  regarded  as  the  consort 
of  Vairocana.  Vairocana  is  distinguished  from  the  other  Dhyani 
Buddhas  by  his  white  complexion  and  the  Dharmacakra  mudra  he  dis 
plays  in  his  two  hands. 

1.    NAMASANGITI 
Colour — White  Face — One 

Arms — Twelve  Asana — Vajraparyanka 

Pandit  Amrtananda's  Dharmakosasahgraha  gives  the  description  of 
a  most  interesting  god,  named  as  Namasahgiti.  This  description 
enables  the  students  of  iconography  to  identify  a  large  number  of  his 
images  that  he  scattered  throughout  the  Nepal  valley  and  other  Buddhist 
countries.  This  deity  should  be  distinguished  from  the  Namasangiti 
Manjusri  who  has  already  been  described  as  one  of  the  varieties  of  the 
Bodhisattva  Manjusri.  Like  the  goddess  Prajnaparamita  who  is  the 
embodiment  of  the  Prajnaparamita  literature,  Namasangiti  also  seems 
to  be  the  deification  of  the  Namasangiti  literature  of  the  Buddhists. 
Pandit  Amrtananda  characterises  Namasangiti  as  a  Buddha  but  from 
the  description  and  the  illustration  it  would  appear  that  he  is  a 
Bodhisattva,  The  elaborate  ornaments,  the  fierce  symbol  of  Khatvanga 
as  also  other  Bodhisattva  symbols  do  not  befit  a  Buddha.  Although 
the  parental  Dhyani  Buddha  of  Namasangiti  is  not  expressly  mentioned 
in  the  description  of  Amrtananda,  he  is  brought  here  under  Vairocana 
because  of  his  white  colour* 


EMANATIONS  OF  VAIROCANA  207 

Images  of  Namasahglti  are  to  be  found  in  large  numbers  in  Nepal 
either  in  stone  or  in  bronze  and  he  is  popular  also  in  Tibet  and  China. 
Getty  1  erroneously  labels  this  deity  as  a  "Dogmatic  Form  of  Avaloki* 
tesvara"  and  the  names  given  to  the  various  mudras  exhibited  by 
the  deity  are  also  inaccurate.  The  Dhyana  as  given  in  the  Dharma* 
kosasangraha  is  quoted  as  follows  : 

"Namasangmnama  (Bodhisattvah). 

Ekavaktrah  svetavarnah  dhyananayanah  smerananah  Jatamukutadha- 
rah  nanalahkaralankrtah  sanmudralahkrtah  dvadasabhujah  prathama- 
bhyam  savyadaksabhyarh  hrdayapradese  abhayamudradvayam, 
dvayabhyam  mukutopari  krtanjalimudram,  daksatmyena  visvavajropari 
khadgam  savyavamacaturthabhyam  tarpanamudradvayam,  savyavam- 
apancamabhyam  patrasthamrtaksepanamudrarh  sasthasavyavamabhyam 
sapatradhyanamudrarh  vamatrtiyena  savajrakhatvangam  dadhanah, 
kamalopari  vajrasanah." 

Dharmakosasahgraha  (A.  S,  B.  MS.)  FoL  91 
uThe  (Bodhisattva)  Namsangiti. 

"He  is  one-faced,  white  in  colour,  has  eyes  (half-closed)  in  meditation, 
a  smiling  countenance,  the  Jatamukuta  and  various  ornaments, 
is  decked  in  the  six  auspicious  ornaments,  and  twelve^armed.  He 
exhibits  in  the  first  pair  of  right  and  left  hands  the  two  Abhaya 
mudras  against  the  chest  ;  and  in  the  second  pair  the  Arijali  (clasped 
hand)  mudra  over  the  crown.  The  third  right  hand  carries  the  sword 
on  the  double  Vajra.  The  fourth  pair  exhibits  the  Tarpana  mudras, 
the  fifth  pair  shows  the  mudra  of  sprinkling  nectar  from  the  vessel 
(Ksepana),  and  the  sixth  pair  exhibits  the  SamaJhi  mudra  on  which 
is  the  vessel  (of  nectar);  the  third  left  hand  carries  the  Khatvahga  with 
the  Vajra  ;  and  he  sits  in  the  meditative  pose  on  the  lotus". 

The  image  reproduced  by  Getty  has  lost  the  sword  on  the  double 
Vajra  and  the  Khatvahga  with  the  Vajra  carried  in  the  third  pair  of 
hands  by  the  deity. 

Fig.  151  illustrates  a  Nepalese  statuette  of  the  deity. 

2.     MARICf 

MaricI  is  invoked  by  the  Lamas  of  Tibet  about  the  time  of  sun-rise, 
which  shows  her  connection  with  the  sun.  She  too,  like  the  Hindu 
Sun^god,  has  a  chariot.  Her  chariot  is  drawn  by  seven  pigs,  while 
that  of  the  sun  is  drawn  by  seven  horses.  Again,  the  charioteer  of 
the  sun  is  Aruna,  who  has  no  legs,  but  that  of  MaricI  is  either  a 
goddess  with  no  legs,  or  Rahu — only  the  head  without  a  body. 

1;    Getty  :  GNB,  pp.  66,  67. 


208  BUDDHIST  ICONOGRAPHY 


There  is  a  theory  that  Marici  and  Vajravarahi  are  the  same,  but  it 
cannot  be  supported  ;  for,  whereas  Vajravarahi  is  actively  associated  in 
yab-yum  with  her  consort  Heruka,  or  Samvara  an  emanation  of  Akso- 
bhya,  Marici  invariably  appears  singly,  and  her  consort  is  Vairocana 
himself,  and  not  any"emanation  of  a  Dhyani  Buddha.  Again,  Heruka 
rides  a  corpse  lying  on  its  chest,  and  accordingly,  such  a  Vahana  has 
been  given  to  Vajravarahi,  but  Marici  is  never  known  to  tread  upon  a 
corpse,  or  even  the  prostrate  body  of  a  man.  The  images  of  Vajra- 
varahi always  represent  her  as  one-faced  with  an  excrescence  near  the 
right  ear,  but  Marici,  even  when  represented  as  one*  faced  is  not  known 
to  have  any  excrescence  on  her  face.  Vajravarahi  according  to 
the  Dhyana,  may  have  four  arms,  but  Marici  must  have  either 
two,  eight,  ten  or  twelve  arms  according  to  the  Sadhana.  Marici 
is  always  said  to  reside  in  the  womb  of  a  Caitya,  whereas  Vajravarahi, 
being  an  abbess,  may  reside  anywhere.  The  mantra  for  Vajravarahi  is 
"Om  Sarva-Buddhadakimye  Vajravarnanlye  hum  hum  phat  phat  svaha" 
or  "Om  Vajravetall  hum  phat".  Santideva  gives  the  Dharani  for 
Marici  but  the  Dharani  never  refers  to  her  as  Vajravarahi.  The  con- 
ception of  Marici  has  a  greater  antiquity  than  the  conception  of  either 
Vajravarahi  or  Heruka.  The  union  of  Heruka  and  Vajravarahi  is  the 
subject-matter  of  the  Vajravarahi  Tantra,  but  no  Tantra  is  assigned  to 
Marici.  Vajravarahi  stands  in  the  Ardhaparyahka  in  a  dancing  attitude 
on  a  corpse,  but  Marici  stands  almost  always  in  the  Alldha  attitude 
and  moves  in  a  chariot,  but  she  is  never  in  the  dancing  attitude.  Last 
but  not  the  least,  Vajravarahi  has  been  called  a  Dakini,  that  is,  an  abbess 
who  had  attained  perfection,  (  siddhi  )  and  had  become  a  deified 
woman,  but  Marici  is  a  goddess,  first  and  last. 

In  view  of  these  wide  differences  in  form,  character  and  accoutre- 
ments, the  identity  of  the  two  goddesses  Marici  and  Vajravarahi,  can 
not  be  established.  The  only  points  of  agreement  between  them  are 
that  both  of  them  are  emanations  of  Vairocana,  and  both  sometimes 
have  two  arms  and  two  legs. 

Sixteen  Sadhanas  in  the  Sadhanamala  describe  six  distinct  forms  of 
Marici.  She  may  have  one,  three,  five  or  six  faces  and  two,  eight,  ten 
or  twelve  arms.  She  is  generally  accompanied  by  her  four  attendants, 
Varttall,  Vadall,  Varall  and  Varahamukhl.  She  is  recognized  generally 
by  the  sow  face  and  the  seven  pigs  that  run  her  chariot.  The  needle 
and  the  string  are  her  characteristic  symbols,  to  sew  up  the  mouths  and 
eyes  of  the  wicked.  Images  of  Marici  are  rather  common  in  India. 
In  her  two-armed  form  of  Asokakanta  she  accompanies  Khadiravani 
Tara;  amongst  other  varieties  of  Marici,  the  form  with  three  faces  and 


EMANATIONS  OF  VAIROCANA  209 

eight  arms,  is  extensively  met  with  in  sculptures  J.     Images  of    Marici 
are  found  in  Tibet  L>  and  China  •*. 

Goddess  Marici  is  the  principal  deity  in  the  Marici  Mandala  of  the 
Nispannayogavali.  The  form  described  here  is  three-faced  and  six- 
armed.  Sasvata  or  Vairocana  is  said  to  be  the  spiritual  sire  of 
Marici  4. 

(I)  ASOKAKANTA 

Vahana— Pig  Colour — Yellow 

Asana — Standing         Mudra— Varada 

Distinctive  feature — Left  hand  touching  the  Asoka  bough 

Ordinarily,  Marici  has  two  arms  and  one  face.  She  is  called  A&oka* 
kanta  when  she  holds  the  bough  of  an  Asoka  tree  in  the  left  hand  and 
exhibits  the  Varada  mudra  in  the  right  hand  ;  but  she  is  called 
Arya-Marlci  if  she  carries  the  needle  and  the  string  in  her  two  hands. 
The  Dhyana  describing  the  form  of  Asokakanta  is  stated  below  : 

"Hemabhasukaraiudham  taptakancanabhasvaram    I 
Lilayordhvasthitarh  candrabimbambhoruhasamsthitam     II 
Asokavrksasakhagravilagnam  vamapanina     I 
Bibhratim  varadakaradaksinakarapallavam     II 
Diptaratnopasobhena  maulina  Buddhasekharaih     I 
Svetavastram  namasyami  Maricim  abhayapradam"     II 

Sadhanamala,  p.  306 

"I  bow  to  Marici  who  rides  the  sow  of  golden  colour,  whose  com* 
plexion  is  like  the  colour  of  molten  gold.  She  stands  in  a  sportive 
attitude  on  the  mocn  over  the  lotus,  and  holds  with  her  left  hand  the 
bough  of  an  Asoka  tree,  and  displays  the  Varada  pose  in  the  right. 
She  bears  the  image  of  the  Dhyani  Buddha  (Vairocana)  on  the  crown, 
is  decorated  with  bright  jewels,  wears  white  garments  and  grants  assu- 
rance of  safety  (to  the  world)". 

An  image  of  Asokakanta  is  referred  to  by  Alice  Getty  5. 


1.  Bhattasali :  IBBS.  p.  43f  and  PI.  XIII-XIV 

Z.  Getty  :  GNB,  p.  133 

3.  Clark  :  TLP,  II,  pp.  207,  286,  189,  20 1 

4  NSP:pp.  40,  41 

5.  Getty :  GNB,  p.  133. 

27 


210^  BUDDHIST  ICONOGRAPHY 

(II)  ARYA*MARlCf. 
Symbols — Needle  and  String. 

Arya-Markl  is  identical  with  Asokakanta  except  for  the  symbols  she 
bears  in  her  hands.  As  already  stated,  Asokakanta  has  the  Asoka 
bough  and  the  Varada  pose,  but  Arya-MaricI  carries  the  needle  and 
the  string  l . 

(III)  MARlcfPICUVA. 
Faces — Three  Arms — Eight 

Marlcipicuva  is  also  called  AstabhujapIta^Marici  or  Samksipta-MaricI. 
These  two  names  denote  two  distinct  varieties  of  Marici,  although  both 
are  endowed  with  three  faces  and  eight  arms  and  carry  similar  weapons 
in  their  hands.  One  Sadhana  only  is  devoted  to  Marlcipicuva,  and  it 
does  not  mention  whether  she  should  be  accompanied  by  the  four 
goddesses  as  usual.  She  holds  the  needle  and  the  string  in  the  first  pair' 
of  hands,  the  Ahkusa  and  the  noose  in  another  pair,  the  bow  and  the 
arrow  in  the  third  pair,  and  the  Vajra  and  the  Asoka  flower  in  the 
fourth  pair.  She  has  three  faces,  each  displaying  a  mixture  of  three 
different  sentiments  (Rasa),  The  Dhyana  in  verse  runs  as  follows  : 

uSrhgaravirasaddharsair-jambunadasamaprabham    I 
Madhyendranllavarnasyam  bhayablbhatsaraudrakaih    II 
Karunadbhutasantaisca  sphatikendvitarananarh    I 
Trivimoksamukhaistryaksam  dharmasambhoganirmitam    II 
Pltabharanasadvastram  mayukhasukhavasinim    I 
Sucyaksasyani  sivantlm  badhnantim  mukhacaksusi    II 
Hrdgalenkusapasabhyam  bindhantim  banakarmukaih    I 
Vajrena  dusthrdbhitvasokenasecanapararh    II ... 
Prajnopayapadakrantam  Mandril  bhavayedvratl    II 

Maricipicuva'Sadhanarh".  Sadhanamala  pp.  297-298. 

*'The  worshipper  should  conceive  himself  as  Marlcipicuva  who  dis- 
plays the  sentiments  of  Srngara,  Vira,  and  Harsa  in  one  of  her  faces, 
which  is  of  the  colour  of  Jambunada  (gold).  In  the  middle  face  which 
is  of  the  colour  of  the  Indranlla  gem,  the  sentiments  of  Bhaya,  Bibhatsa, 
and  Raudra  are  displayed  ;  and  in  the  third  face  of  crystal  colour,  the 
sentiments  of  Karuna,  Adbhuta  and  oanta  appear.  She  has  three  eyes 
in  each  one  of  her  three  faces,  which  give  freedom  from  the  three  great 
evils.  Her  essence  is  made  of  Dharmakaya  and  Sambhogakaya.  She 

1.    Sadhana  No.  147  in  the  Sadhanamala,  p.  305. 


EMANATIONS  OF  VAIROCANA  III 

is  clad  in  garments  of  yellow  colour  and  resides  happily  in  the  mass  of 
rays.  She  sews  up  the  eyes  and  the  irouths  of  the  wicked  with  the 
needle  and  secures  them  with  the  string.  She  strikes  their  hearts  with 
the  Ankusa,  draws  them  by  the  neck  with  the  noose,  pierces  them  with 
the  bow  and  the  arrow,  and  shatters  their  hearts  to  pieces  with  the 
Vajra,  and  then  sprinkles  water  with  the  leaves  of  Asoka...  She  tramples 
under  her  feet  Prajna  and  Upaya." 

Astabhuja-Marici  or  Sarhksipta-Marici  is  yellow  in  colour,  wears 
red  garments,  is  decked  in  various  ornaments,  bears  the  image  of 
Vairocana  on  the  crown  and  resides  within  the  cavity  of  a  Caitya.  Her 
three  faces  display  three  different  sentiments.  The  first,  or  the  principal 
face  displays  passionate  love,  and  is  of  the  colour  of  gold.  The 
second,  or  the  left  face  is  distorted,  sow-like,  has  the  colour  of  the  Indra- 
nlla  gem,  displays  wrath  and  looks  terrible  with  bare  fangs  and  protru- 
ding lips.  The  third  or  the  right  face  is  of  deep  red  colour,  glows 
in  heavenly  splendour  and  displays  the  sentiment  cf  Santa.  She  rides 
a  chariot  drawn  by  seven  pigs,  stands  in  the  Alidha  attitude,  and 
appears  a  virgin  in  the  fulness  of  youth.  Below  the  seven  sows 
is  the  fierce  Rahu,  who  devours  the  sun  and  the  moon.  She  is  sur- 
rounded by  the  four  attendant  goddesses,  Varttali,  Vadali,  Varali  and 
Varahamukhi. 

(i)  Varttali  has  red  complexion,  the  sow-face  and  four  arms. 
She  wears  red  garments,  is  decked  in  all  sorts  of  ornaments, 
and  carries  the  noose  and  the  Asoka  in  the  two  left  hands  and 
the  Vajrahkusa  and  the  needle  in  the  right. 

(ii)  Vadali  has  many  features  in  common  with  Varttali,  but  her 
colour  is  yellow  and  she  carries  the  noose  and  the  Vajra  in 
the  two  left  hands  and  Asoka  and  the  needle  in  the  right, 

(iii)  Varali  is  identical  with  Vadali,  except  that  she  holds  the 
Vajra  and  the  needle  in  the  two  right  hands  and  the  noose 
and  the  Asoka  in  the  left. 

(iv)  Varahamukhi  wears  the  same  garments  and  the  same  orna- 
ments as  Vadali  and  Varali,  but  her  complexion  is  ruddy,  and 
-  she  carries  the  Vajra  and  the  arrow  in  the  two  right  hands  and 
the  Asoka  and  the  bow  in  the  left,  •    - 

It  is  very  curious  that  almost  all  the  images  of  Marlcl  known  so  .far, 
belong  "to  this  Variety.  Iti  actual  images,  a  legless  lady  charioteer 
may  sometimes  :>be  fnet  with  instead  of  Rahu,  while  spine  *  images 
retain  the  charioted  *  as'  well '  as  Rahu.  Two  images  of  the 
eight-armed  variety  of  Ttffcndu  are  in  the  Dacca  Museum,-  two 


212  BUDDHIST  ICONOGRAPHY 

are  in  the  Indian  Museum  (  Figs.  152,  153  )  Calcutta,  and  the  one 
(Fig.  154)  which  is  reproduced  in  many  works  of  art,  was  discovered  at 
Sarnath  and  is  now  deposited  in  the  Lucknow  Museum,  while  a  sixth 
has  been  discovered  in  Orissa.  Besides  these,  several  other  images  of 
MaricI  are  available  in  the  museums  at  Rajshahi  and  Sarnath.  All 
these  images  are  three- faced  and  eight-armed,  and  some  of  them  are 
very  fine  specimens  of  art.  In  the  more  artistic  and  accurate  images  the 
three  sentiments  have  actually  been  depicted  by  the  sculptors.  A  study 
of  these  images  will  show  that  though  the  sculptors  generally  follow 
the  Sadhana  in  all  details,  yet  they  are  not  always  so  scrupulous  in 
the  case  of  the  four  attendant  goddesses  who  are  sometimes  two- 
armed,  and  sometimes,  though  four-armed,  do  not  carry  the  symbols 
prescribed  by  the  Sadhanamala. 

(IV)    UBHAYAVARAHANANA 

Faces — Three  Arms — Twelve 

Asana— Alidha        Distinctive  mark — Two  Sow*faces 

She  has  been  given  this  name  because,  unlike  all  other  three-faced 
forms  of  MaricI,  both  her  right  and  left  faces  are  like  that  of  a 
sow.  She  is  clad  in  tiger-skin,  has  red  complexion,  a  jewelled 
headdress,  a  red  scarf  and  is  decked  in  all  sorts  of  ornaments.  She 
resides  within  the  womb  of  a  Caitya,  stands  in  the  Alidha  attitude,  and 
is  endowed  with  three  faces,  each  with  three  eyes,  and  twelve  arms. 
The  principal  face  smiles  with  delight,  is  peaceful  in  expression  and 
display  the  emotion  ot  love,  while  the  two  side  ones  are  distorted  sow- 
like.  The  face  to  the  left  is  red,  and  is  paid  homage  to  by  a  deity  carry- 
ing the  Vajra  and  the  Mudgara  ;  the  face  to  the  right  has  a  reddish  efful- 
gence like  that  of  Saindhava  salt,  and  is  paid  homage  to  by  Purandara 
(Indra)  who  carries  the  Vajra  and  the  noose.  In  her  six  left  hands  she 
shows  the  Tarjam  against  the  chest,  the  Asoka  bough,  the  Vajrah- 
kusa,  the  Kapala,  the  head  of  Brahma  and  the  vessel,  and  in  the  six 
right  hands  the  needle,  the  Afikusa,  the  Bhindipala  (  spear  ),  the  sword, 
the  Kartri  and  the  Staff  stamped  with  a  Vajra.  She  bears  the 
image  of  Vairocana  on  her  crown,  and  tramples  under  her  feet  the 
Hindu  gods,  such  as  Hari  (Visnu),  Hara  (Siva),  Hiranyagarbha  (Brahma) 
and  others*  The  guardians  of  the  quarters  all  pay  homage  to  this 
goddess. 

It  may  be  pointed  out  here  that  the  Sadhana  is  reticent  about  the 
chariot,  the  seven  sows  that  run  it,  and  about  the  four  attendant 
goddesses,  Varttali,  Vadali,  Varali  and  Varahamukhl  l. 

1.    Sftdhana  No.  145  in  the  Sadhanamala,  pp.  299-30Z. 


EMANATIONS  OF  VAlROCANA  213 

(V)    DASABHUJASITA-MARICf. 

Faces — Five  Colour— White 

Arms — Ten  Legs  -  Four 

Two  Sadhanas  in  the  Sadhanamala  describe  her  form  which  is  ten- 
armed,  and  white  in  colour.  The  most  important  feature  of  this  variety 
is  that  she  is  endowed  with  four  legs.  She  has  five  faces.  The  pnn* 
cipal  face  is  white,  the  right  is  blue,  the  left  is  red  and  distorted 
sow-like,  the  face  behind  is  green,  and  the  face  above  is  yellow 
and  bears  the  Trisikha  (three  tufts  of  hair)  and  the  Jatamukuta.  The 
five  right  hands  hold  the  sun,  the  blue  Vajra,  the  arrow,  the  goad  and 
the  needle  while  the  five  left  hands  carry  the  moon,  the  bow,  the  Asoka 
bough,  the  noose  with  the  Tarjam  and  the  string.  She  rides  a  chariot 
drawn  by  seven  pigs,  and  tramples  under  her  feet  the  four  Hindu  gods 
Indra,  Siva,  Visnu  and  Brahma.  She  bears  the  effigy  of  Vairocana  on 
her  crown, 

The  Sadhanas  further  add  that  she  should  be  accompanied  by  three 
other  goddesses  of  whom  the  first  is  blue  in  colour,  and  rides  upon  a 
Makara.  Her  face  is  mis-shapen  like  that  of  a  sow,  and  she  carries  the 
Vajra  in  one  hand  and  the  Tarjam  in  the  other. 

The  second  goddess  appears  to  the  right  of  Marici ,  wears  celestial 
ornaments,  is  ruddy  in  colour  with  one  face  mis-shapen  like  that  of 
a  sow. 

The  third  goddess  appears  to  the  left  of  Marici.  She  is  of  red 
colour,  with  one  face  mis-shapen  like  that  of  a  sow,  and  four  arms. 
The  two  principal  hands  are  engaged  in  drawing  to  the  full  the  bow 
charged  with  an  arrow,  while  the  remaining  two  hold  the  Vajra  in  the 
right  and  the  Asoka  bough  in  the  left. 

Below  che  seven  pigs  drawing  the  chariot  are  the  Navagrahas  or  the 
Nine  Planets,  and  various  diseases  and  disasters  in  human  shape  lie  flat 
on  the  ground l . 

The  Sadhanas  do  not  give  the  names  of  the  attendant  deities,  which 
are  only  three  in  number.  It  is  possible  that  these  three  are  the  mem- 
bers of  the  Varttali  group.  Fig.  155  illustrates  aNepalese  drawing  of 
this  variety  of  Marici. 

1.    Sidhana  No.  139  in  the  Sidhanamala,  pp.  285-286. 


2 1 4  BUDDHIST  ICONOGRAPHY 

(VI)    VAJRADHATSTi^VARlMARICL 
Faces — Six  Asana— Alldha 

Arms— Twelve         Appearance — Terrible 

When  six*faced  and  twelve-armed,  MaricI  is  invoked  in  three 
different  forms  and  under  three  different  names:VajradhatvIsvari  Marici. 
Uddiyana  MaricI,  and  Vajravetali.  These  three  forms  are  classed  to^ 
gether  here  because  of  their  marked  resefnblance.  They  differ  however 
in  minor  details  and  in  respect  of  the  weapons  they  carry  in  their 
hands. 

The  features  that  are  common  to  all  the  three  may  be  summarised 
from  the  Sadhanas  as  follows.  They  are  all  endowed  with  six  faces  and 
twelve  arms.  The  first  five  faces  are  respectively  of  red,  blue,  green, 
yellow  and  white  colour.  The  face  on  the  top  is  mis-shapen  like  that 
of  a  sow,  and  is  blue  in  colour.  All  the  three  are  said  to  reside  in  the 
womb  of  a  Caitya;  they  stand  in  the  Alidha  attitude  and  bear  the  image 
of  Vairocana  on  the  crown.  They  present  a  terrifying  spectacle  with 
three  eyes,  protruding  tongue,  bare  fangs,  serpents  for  ornaments  and 
garments  of  tiger-skin. 

Vajradhatvlsvarl  carries  in  her  six  right  hands,  1.  the  sword, .  2.  the 
Musala,  3.  the  arrow,  4.  the  goad,  5.  the  Vajra  and  6.  the  Parasu, 
and  in  the  six  left  1.  the  noose,  2.  the  Kapala,  3.  the  Asoka  bough, 
4.  the  severed  head  of  Brahma,  5.  the  bow  and  6.  the  Trisula, 

Uddiyana  MaricI  holds  the  Cakra  in  one  of  her  right  hands,  instead 
of  the  goad,  and  the  Khatvanga-Kapala  in  one  of  the  left  hands  instead 
of  only  the  Kapala.  Vajravetali  in  one  of  her  right  hands  holds  the 
crossed  double  thunderbolt  instead  of  the  goad  or  the  Cakra,  and  in 
one  of  the  left  the  noose  instead  of  the  Kapala  or  the  Khatvafiga- 
Kapala.  All  the  other  hands  carry  the  same  weapons  in  all  the  three 
cases  \ 

3.    USNfsAVIJAYA 

Colour— White  Faces— Three  Arms— Eight 

Identification    mark— Buddha  on  lotus 

Like  Marici,  Usmsavljaya  is  also  said  to  bear  the  image  of  Vairo- 
cana  <^  feet  crown  and  to  reside  within  the  womb  of  a  Caitya.  She  is 
one  of  the  most-pqpular  deities  of  the  pantheon,  and  almost  every 
temple  in  Nepal  contains  her  image.  The  most  artistic  specimen, 
however,  belongs  to  the  Indian  Museum,  Calcutta.  A  miniature  Caitya' 
1.  Sadhana  No-  136  in  the  Sldianamate,  p.  280  *  ^  - '  -  -I 


EMANATIONS  OF  VAIROCANA  215 

on  the  top  of  the  image  of  Usmsavijaya  signifies  that  she  is  an  offspring 
of  Vairocana  who  resides  in  the  centre  of  the  Caitya.  It  is  not  impro- 
bable that  Usnlsavijaya  is  the  deified  form  of  the  Dharim  of  the  same 
name  included  in  the  group  of  twelve  Dharim  goddesses.  She  may 
thus  represent  the  deified  form  of  the  Usmsavijaya  Dharim.  Several 
Sadhanas  describe  her  form  and  the  Dhyana  contained  in  one  of 
these  is  given  below  : 

"suklam  trimukham  trinetrarh  navayauvanam  nanalankaradharam 
astabhujam  Bhagavatlm  cintayet ;  pitakrsnadaksinetaravadanam  ;  daksi- 
nacaturbhujaih  visvavajra-*padmastha-'Buddha'bana'*varadamudradharam, 
vamacaturbhujaih  capa-tarjanlpasa-abhayahasta'purnakumbhah  ;  cait- 
yaguhagarbhasthitam,  Vairocanamukutinirh  nispadya..." 

Usmsavijaya'Sadhanam."  Sadhanamala,  p.  394 

'The  worshipper  should  conceive  himself  as  (Usmsavijaya}  who  is 
white  in  complexion,  three^faced,  three-eyed,  youthful  and  is  decked 
in  many  ornaments.  Her  right  and  left  faces  are  respectively  of  yellow 
and  blue  colour.  Her  four  right  hands  display  the  Visvavajra.  Buddha 
on  lotus,  the  arrow  and  the  Varada  pose,  and  her  four  left  hands  show 
the  bow,  the  noose  with  the  Tarjani,  the  Abhaya  pose  and  the  well- 
filled  water* vessel.  She  resides  in  the  womb  of  the  Caitya,  and  bears 
the  image  of  Vairocana  on  the  crown.  Thus  meditating..." 

The  statuette  (Fig.  156)  of  Usmsavijaya  in  the  Indian  Museum, 
Calcutta,  agrees  almost  in  all  details  with  the  description  given  in  the 
Sadhana.  The  attitude  in  which  she  sits  here  is  the  Vajraparyafika 
attitude. 

The  other  illustration  (Fig.  157)  is  the  reproduction  of  a  painting 
contained  in  an  illuminated  manuscript  of  Pancaraksa  in  the  possession 
of  Dr.  W.  Y.  Evans- Wentz.  In  it,  the  right  hand  which  ought  to  have 
carried  the  Visvavajra  or  the  crossed  thunderbolt,  carries  the  jewel 
instead.  In  all  other  respects  the  painting  follows  the  description  of 
the  Sadhana  most  accurately. 

Images  of  this  deity  are  also  found  in  Tibet  l  and  China  2 . 

4.    SITATAPATRA  APARAjITA 
Faces — Three  Arms — Six 

Colour— White 

One  Sadhana  only  is  devoted  to  the  worship  of  this  deity.    The 

word  "Vairocananayakam"  In  the  Sadhiaiia  shows  that  she  also   belongs 

i .._..-. . ^*** 

1.  Getty:  GNB,  p.  135, 

2.  Clark  :  TLP,  II,  p.  286 


216  BUDDHIST  ICONOGRAPHY 

to  the  'family  of  the  Dhyani  Buddha  Vairocana.  She  is  mild  in  nature 
except  for  the  eyes,  which  display  anger*  The  Dhyana  describes  her 
form  in  the  following  manner  : 

"Sitatapatraparajitam  Bhagavatim  trimukham  sadbhujarh,  prati- 
mukhtm  trinayanam,  suklam  nllarunadaksinavamamukhim,  cakran* 
kusadhanurdharadaksinakaram  sitavajrasarapasatarjamdharavamakaram 
sakrodhadrstikam  sarvagrahavidhvamsinim  divyalankaravastravatim 
Vairocananayakam  dhyatva..."  Sadhanamala,  p.  395 

"The  worshipper  should  conceive  himself  as  goddess  Sitatapatra 
Aparajita,  who  is  three*faced,  six  armed,  and  has  three  eyes  in  each  of 
her  faces.  She  is  of  white  colour.  Her  faces  to  the  right  and  left  are 
respectively  of  blue  and  red  colour.  She  carries  in  her  three  right 
hands  the  Cakra,  the  goad  and  the  bow,  and  in  the  three  left  the  white 
Vajra,  the  arrow  and  the  noose  with  the  Tarjam.  She  has  angry  looks, 
destroys  all  sorts  of  e\il  spirits  (Grahas  lit.  Planets),  wears  celestial 
ornaments  and  garments,  and  is  led  by  Vairocana.  Thus  meditating...0 

This  goddess  is  called  Sitatapatra  Aparajita  "The  Invincible  Goddess 
with  the  White  Parasol"  and  should  be  distinguished  from  the  other 
Aparajita  who  has  an  entirely  different  form  and  is  yellow  in  colour. 
Fig.  158  illustrates  a  Nepalease  drawing  of  the  deity  Sitatapatra 
Apatajita  *, 

As  Sitatapatra  this  deity  is  known  in  Tibet  2  and  China  3. 

5.    MAHASAHASRAPRAMARDANI 
Colour— White  Arms— Six 

Mahasahasrapramardam  is  another  goddess  of  the  Pancaraksa 
group,  and  is  assigned  to  Vairocana  exactly  in  the  same  way  as  Mahasi- 
tavati  and  Mahamantranusarim  are  affiliated  respectively  to  Amitabha 
and  Aksobhya.  Her  form  is  different  from  that  in  which  she  is 
worshipped  in  the  Pancaraksa  Mandala.  Here  the  Dhyana  describes 
her  form  in  the  following  terms  : 

**MahasahasrapramardanIm  atmanam  dhyayat ;  suklam  ekamukhim 
sadbhujam  ;  daksinatribhujesu  khadgabanavaradamudrah  vamatri* 
bhujesu  dhanuhpasaparasavah ;  vicitralahkaradharam  rupayauvana* 
srfigaravatim  Vairocanakirltayuktam  padmacandrasanaprabham''. 

Sadhanamala,  p.  400 

1.  Bhattasali :  1BBS,  p.  53,  PI.  XVIII. 

2.  Gordon  :  1TL,  p.  27  ;    For  Sitatapatra  Apatajita  see  Getty  :  GNB,  p.  136. 
3*    Clark  :  TIP,  II,  pp.  190,  202  under  the  title  of  SitatapatrS, 


EMANATIONS  OF  VAIROCANA  217 

"The  worshipper  should  conceive  himself  as  Mahasahasrapramar- 
dani  who  is  of  white  complexion,  one-faced  and  six-armed.  She 
carries  in  her  three  right  hands  the  sword,  the  arrow  and  the  Varada 
pose,  and  in  the  three  left  the  bow,  the  noose  and  the  Parasu.  She 
is  decked  in  variegated  ornaments,  is  young  and  beautiful,  displays 
the  sentiment  of  amour,  bears  the  figure  of  Vairocana  on  her  crown, 
sits  on  the  moon  over  a  lotus,  and  is  radiant  like  the  moon". 

Images  of  this  deity  are  found  in  Tibet  ]   and  China  ". 

6.    VAJRAVARAHI 
Asana — Dancing  in  Ardhaparyahka 
Characteristic  feature — Excrescence  near  the  right  ear. 

The  union  of  Vajravarahl  with  Heruka  is  the  cult  of  the  celebrated 
Cakrasamvara  Tantra.  One  of  the  Sadhanas  gives  her  the  epithet  of  "Sri' 
Herukadevasyagramahisi"  or  <lthe  first  queen  of  the  god  Sn-Heruka". 
She  is  also  called  a  Dakini  and  in  the  Buddhist  Tantra  this  signifies  any 
Sakti  with  whom  the  Yuganaddha  (yab->um)  worship  may  be  per- 
formed. It  will  not  be  out  of  place  to  mention  here  that  Heruka  is 
also  associated  with  Vajrayogini  and  then  union  is  the  subject  ot  the 
great  Heruka  Tanti a,  but  Vajravarahl  differs  considerably  from  Vajra- 
yogini in  form.  If  Vajravarahl  is  the  first  queen  ot  Heruka,  there  is  no 
reason  to  suppose  that  Vajrayogini  may  not  be  anothei.  In  fact,  it 
has  already  been  shown  that  Heruka  in  yab-yum  lotni  used  to  be 
associated  with  other  goddesses,  such  ys  Nanatma  and  Vajiasrnkhala, 
as  well.  Vajravarahl  is  represented  as  nude  and  as  displaying  intense 
and  passionate  love. 

The  name  Vajravarahi  or  Adamantine  sow'  is  given  to  her 
for  the  simple  reason  that  she  has  an  excrescence  near  her  right 
ear  which  resembles  the  face  of  a  sow.  It  is  far  more  likely  that 
Getty's  story  about  Yun-gar's  attack  on  the  abbess  and  the  monastery 
refers  to  Vajravarahl  than  to  Marici;  for  while  Mai  ici  has  one  face  which 
may  be  distorted  sow-like,  Vajravarahl  has  a  natural  excrescence  just 
near  the  right  ear,  which  has  gained  for  her  the  epithet  'Vajraghona'  in 
the  Sadhanas,  Another  argument  in  favour  of  this  is  that,  while  Vajra- 
varahl is  called  a  Dakini,  and  is  associated  with  four  other  Dakmls,  she 
may  quite  easily  be  an  abbess,  and  therefore,  a  Siddha  woman  deified, 
and  not  a  goddess.  But  Marici  is  decidedly  a  goddess  ;  she  is  Vajra- 
dhatvlsvari  and  the  consort  of  a  Dhyani  Buddha. 

1*    Gordon  :  1TL,  p.  76 
2.    Clark  :  TLP,  II,  p  275 
28 


218  BUDDHIST  ICONOGRAPHY 

Several  Sadhanas,  both  long  and  short,  describe  two  distinct  forms 
of  Vajravarahl.  who  is  also  known  as  Buddhadakim  and  Vajravairo* 
cam.  She  is  either  two-armed  or  four-armed.  Even  when  two-armed 
she  may  have  several  forms  according  to  weapons  she  carries  in  her  two 
hands.  In  one  Sadhana  only  is  she  said  to  emanate  from  the  family 
of  Vairocana,  and  bear  the  double  Vajra  on  her  head,  but  the  others 
are  silent  as  to  her  sire. 

Images  of  this  very  popular  goddess  are  found  in  Tibet  1  and 
China  2. 

(I)  VAJRAVARAHI 

Colour — Red  Appearance — Nude 

Arms — Two  Asana — Pratyalldha 

Symbols — Vajra-Tarjam  and  Kapala. 

Several  Sadhanas  in  the  Sadhanamala  describe  two-armed  forms  of 
Vajravarahl.  Below  is  quoted  a  Dhyana  which  gives  a  general  idea  of 
her  form  : 

Atmanam  Bhagavatlm  Vajravarahim  dadimakusumaprakhyam  dvi- 
bhujarii  daksinakarena  vajratarjanikakararh  vamena  karotakhatvanga- 
dharam  ekananarh  trinetrarh  muktakesam  sanmudramudritam  digam- 
bararfa  pancajnanatmikam  sahajanandasvabhavam,  pratyalldhapadakran- 
ta- Bhairava-Kalaratrikam  sar dramundam alalahkrtagatr am  sra vadrudhi- 
ram  pibantim  bhavayet.  Sadhanamala,  p.  425. 

"The  worshipper  should  think  himself  as  goddess  Vajravarahl  whose 
colour  is  red  like  the  pomegranate  flower  and  is  two-armed.  She 
exhibits  in  her  right  hand  the  Vajra  along  with  the  raised  index  finger, 
and  shows  in  the  left  the  Kapala  and  the  Khatvahga.  She  is  one- faced 
and  three*eyed,  has  dishevelled  hair,  is  marked  with  the  six  auspicious 
symbols  and  is  nude.  She  is  the  essence  of  the  five  kinds  of  know- 
ledge, and  is  the  embodiment  of  the  Sahaja  pleasure.  She  stands  in 
the  Pratyalidha  attitude,  tramples  upon  the  gods  Bhairava  and  Kalaratri, 
wears  a  garland  of  heads  still  wet  with  blood  which  she  drinks/' 

The  Sadhana  further  adds  that  the  four  petals  of  the  lotus  on  which 
she  stands  are  occupied  by  the  four  goddesses  Dakini,  Larna,  Khanda- 
roha  and  Rupini  in  the  four  cardinal  directions  beginning  from  the 
right.  The  four  companions  are  of  blue,  green,  red  and  white  colour 
respectively,  and  they  are  all  one-faced  and  four-armed.  They  all 
carry  the  Khatvanga,  the  Kapala  in  the  left  hands  and  the  Damaru  and 
the  Kartri  in  the  two  right  hands. 


1.  Gordon:    ITL,  p.  80;  Getty:   GNB,  pp.  131,  132. 

2.  Clark  :  TLP,  II,  p.  238. 


EMANATIONS  OF  VAIROCANA  219 

(II)  VASYA-VAJRAVARAHl 

Symbols — Kami  and  Kapala  Asana — Dancing  in  Ardhaparyahka 

Vahana — Corpse  lying  on  back 

This  form  of  Vajravarahl  is  invoked  in  those  rituals  which  are  per* 
formed  with  the  specific  purpose  of  bewitching  men  and  women,  and  is 
very  popular  in  Nepal  and  other  Buddhist  countries.  This  form  is 
almost  identical  with  the  one  described  above  with  the  difference 
that  here  the  goddess  wields  the  Kartri  in  the  right  hand  instead  of  the 
Vajra,  along  with  the  raised  index  finger.  The  left  has  the  Kapala  like 
the  previous  one.  The  Khatvanga  as  usual  hangs  from  her  left  shoul- 
der just  as  it  is  seen  in  the  Heruka  and  Nairatma  images.  She  stands 
in  the  attitude  of  dancing  in  Ardhaparyanka  on  a  corpse  instead  of 
showing  the  Pratyalidha  as  in  the  previous  case  l. 

Fig.  159  illustrates  a  Nepalese  drawing  of  the  goddess.  A  beautiful 
statutre  of  Vajravarahl  is  preseived  in  the  Baroda  Museum  (Fig.  160). 

(III)  ARYA-VAJRAVARAHI 
Appearance — Terrible  Asana— Alidha 

Arms — Four 

The  four-armed  form  of  Vajravarahl  is  also  similar  to  the  forms 
mentioned  before,  and  is  called  Arya-vajravarahl.  The  difference  lies 
only  in  the  attitude,  number  of  arms,  and  the  symbols  carried  in  her 
hands.  She  carries  in  the  two  right  hands  the  Vajra  and  the  goad,  and 
in  the  two  left  the  Kapala  and  the  Tarjani  with  the  noose.  She  is 
one-faced  and  three-eyed,  and  appears  terrible  with  contortions  of 
eye-brows,  the  adamantine  excrescence,  and  the  protruding  tongue, 
teeth  and  belly.  She  stands  in  the  Alldha  attitude  on  the  corpse,  unlike 
the  other  forms  of  Vajravarahl.  The  Khatvahga  hangs  from  her  left 
shoulder  as  usual  2. 

7.    CUNDA 

Colour — White  Symbol — Book  on  Lotus. 

Face— One 
Arms — Two,    Four,  Sixteen,  Eighteen  and  Twenty'six. 

According  to  a  definite  statement  s  contained  in  the  Nispannayop a- 
vail  under  the  Manjuvajra  Mandala,  Cunda  is  affiliated  to  the  Dhyani 

1.  Sadhana  No.  220  in  the  Sadhanamala  p.  433. 

2.  Sadhana  No.  224  in  the  Sadhanamala,  pp.  437,  438. 

3.  Nispannayogavall,  p.  52.     Here  Manjbvajia  is  the  seme  as  Vairocara. 


220  BUDDHIST  ICONOGRAPHY 

Buddha  Vairocana,  and  thus  Cunda  is  the  spiritual  daughter  of  Vairo- 
cana,  and  is  required  to  be  classed  under  the  emanations  of  this  very 
Dhyani  Buddha. 

The  name  of  the  deity  is  spelt  variously  as  Cunda,  Cundra,  Candra, 
Canda,  and  Cundra.  She  is  also  called  Cundavajri.  The  spelling  of 
Cunda  as  adopted  by  Foucher  appears  to  be  correct  since  her  mantra 
as  given  in  the  Sadhanamala  :  "Om  Gale  Cule  Cunde  Svaha  contains 
the  word  Cunda  in  the  vocative  as  Cunde  Under  the  circumstances 
the  correct  spelling  and  the  name  of  the  deity  as  Cunda  may  be  taken 
as  certain. 

From  the  Sadhana  it  is  not  possible  to  ascertain  the  character  of  the 
deity  or  her  origin.  But  from  a  reference  in  the  Nispannayogavali  J 
it  appears  probable  that  the  deity  Cunda  is  the  embodiment  of  the 
Buddhist  Dharini  work  called  the  Cundadharinl  to  which  a  reference 
is  made  by  Santideva.  The  Nispannayogavali  acknowledges  altogether 
twelve  Dharini  deities  and  gives  their  descriptions.  These  Dharims 
look  ahke  when  represented  and  they  are  usually  two-armed,  holding 
the  Visvavajra  in  the  right  hand  and  their  special  symbols  in  the  left. 

The  names  of  the  twelve  Dharims  as  given  in  the  Nispannayogavali 
are  these  :  1.  Sumati,  2.  Ratnolka,  3.  Usnisavijaya,  4-  Marl 
5.  Parnasabari,  6,  Jahgull  7.  Anantamukhi  8.  Cunda  9.  Pra- 
jnavardhanl  10.  Sarvakarmavaranavisodhani  11.  Aksayajfianakar- 
anda  and  12.  Sarvabuddhadharma-Kosavati.  These  Dharims  are 
collectively  assigned  to  the  Dhyani  Buddha  Amoghasiddhi,  and  are  des- 
cribed later  in  this  book. 

The  Dharims  are  a  peculiar  kind  of  Buddhist  literature  which  is 
supposed  to  generate  great  mystic  power  if  repeated  continually  for  a  long 
time.  They  are  short  works  mostly  composed  of  meaningless  sylla- 
bles, sometimes  revealing  traces  of  a  language  now  defunct.  The  deifi- 
cation of  books  is  not  unknown  in  Buddhism.  The  best  example  of 
this  is  the  deity  Prajnaparamita,  who  is  the  embodiment  of  the  great 
Mahayana  scripture,  the  Prajnaparamita,  which  is  believed  to  have  been 
rescued  from  the  nether  regions  by  Nagarjuna  the  Pontiff. 

Amongst  the  Dharini  deities  Usnisavijaya,  Janguli,  Parnasaban 
and  Cunda  are  popular,  and  there  are  Sadhanas  and  images  of  these 
deities  in  art.  But  they  represent  nothing  more  than  the  respective 
Vidyas  or  mantras  of  which  they  are  the  embodiments, 

1.    See  the  list  of   Dharini  deities  in  the  Dharmadhatu-Vagisvara  Mandate,   NSP, 
p.  57. 


EMANATIONS  OF  VAIROCANA  221 

Cunda  thus  is  the  embodiment  of  the  Cunda  Dharim  or  the  Cunda 
mantra.  The  Buddhists  believe  that  when  the  Dharim  is  repeated  in 
deep  meditation  for  a  long  time  with  concentration  and  faith,  the  mantra 
vibrations  grossen  themselves  in  the  concrete  form  of  a  deity  which  the 
worshipper  visualizes,  and  thus  obtains  Siddhi  or  success.  Once  realized, 
the  deity  never  leaves  the  worshipper  and  gives  him  everything  that 
he  desires. 

With  regard  to  the  antiquity  of  Cunda  in  the  Buddhist  pantheon, 
it  may  be  said  that  the  very  first  mention  of  her  name  Candra  which  is 
considered  to  be  the  same  as  Cunda,  appears  in  the  Manjusrimulakalpa, 
the  composition  of  which  is  usually  placed  cir.  200  A.  D.  As  Cunda- 
vajri,  she  finds  mention  in  one  of  the  earliest  Tantric  works,  the  Guhy- 
asamaja  which  was  written  most  probably  in  the  time  of  Asahga,  cir. 
300  A.  D,  Cunda  is  also  mentioned  in  the  Siksasamuccaya  of  Santideva 
in  the  7th  century.  Cunda  images  are  found  in  illuminated  Prajnapara- 
mita  MSS  of  the  llth  century  and  several  Sadhanas  are  dedicated  to 
her  in  the  Sadhanamala,  the  earliest  MS  of  which  bears  a  date  which  is 
equivalent  to  A.  D.  1165.  Earlier,  she  is  mentioned  in  the  Nispannayo- 
gavall  of  Abhayakara  Gupta  (C  1130.  A.  D.j. 

So  far  only  three  Sadhanas  of  Cunda  are  known,  and  they  are  all  to 
be  found  in  the  printed  edition  of  the  Sadhanamala  as  Nos.  1 29, 
130,  and  131.  There  is  a  further  description  of  the  goddess  in 
the  same  book  where  Cunda  is  included  as  a  minor  deity 
in  the  Mandala  of  Astabhuja-Kurukulla.  Three  more  descriptions 
are  available  in  the  NispannayogavalL 

The  three  Sadhanas  in  the  Sadhanamala  describe  the  principal 
deity  Cunda  in  one  form  only.  She  is  four-armed,  one-faced  and  of 
white  complexion.  The  Dhyana  is  given  below  : 

^Saraccandrabham  caturbhujarh  daksinena  varadam,  vame  pustaka- 
nkitapadmadharam  karadvaye  patradharam  sarvalankarabhusitam" 

Sadhanamala,  p.  271, 

"She  is  of  the  colour  of  the  autumn  moon,  and  is  four-armed.  She 
shows  the  Varada  mudra  in  the  right  hand  and  holds  the  book  on  a 
lotus  in  the  left.  The  two  other  hands  hold  the  bowl.  She  is  decked 
in  all  ornaments." 

Only  one  image  of  Cunda  (Fig.  161)  of  this  description  was  in  the 
collection  of  the  late  Mr.  W.  B.  Whitney  1  of  America.  The  illustra* 
tion  is  from  a  photograph  kindly  supplied  by  the  owner. 

1.  Also  illustrated  in  Gordon  :  ITJL,  p.  74.  It  is  no*  in  the  famous  Freer  Gallery 
of  Art. 


222  BUDDHIST  ICONOGRAPHY 

The  Sadhanamala  also  makes  Cunda  a  c'ompanion  deity  of  Astabhvr 
ja  Kurukulla  in  Sadhana  No.  174,  p.  352.  In  the  Isana  corner  of  the 
Kurukulla  Mandala  on  a  lotus  petal  sits  Cunda  while  the  other  petals 
are  occupied  by  Prasannatara  in  the  east,  Nispannatara  in  the  south, 
Jayatara  in  the  west,  Karnatara  in  the  north,  Aparajita  in  the  Agni 
corner,  Pradipatara  in  the  Nairrta  corner  and  Gauritara  in  the  Vayu 
corner,  All  the  deities  including  Cunda  look  alike  and  are  described  as 
follows  : 

"Etasca  sarva  raktavarnah  pancatathagatamukuta  vajraparyankanisa- 
nna  daksinabhujabhyam  varadamudra-akarnapuritasaradhara  vamabhu- 
jabhyam  utpala-capadharah."  Sadhanamala,  p,  352. 

"All  these  deities  are  red  in  colour.  They  wear  a  crown  with 
the  figures  of  the  five  Dhyani  Buddhas,  and  sit  in  the  Vajraparyahka 
attitude,  With  the  two  right  hands  they  show  the  Vaiada  mudra  and 
the  arrow  drawn  to  the  ears.  They  carry  in  their  two  left  hands  the 
blue  lotus  and  the  bow." 

In  the  Nispannayogavali  there  are  altogether  three  descriptions  of 
Cunda.  In  the  Kalacakra  Mandala,  Cunda  is  the  consort  of  Takkiraja 
who  is  similar  to  Ratnasambhava  in  appearance  The  relevant  passage 
is  given  below  : 

* 'Cunda  sukla  savyabhyam  mudgara-kuntau  vamabhyarh  padma^dan^ 
dau  vibhrana".  NSP,  p.  89 

uCunda  is  white  in  colour.  In  the  two  right  hands  she  carries  the 
Mudgara  (club)  and  the  Kunta  (knife)  and  in  the  two  left  the  Padma 
(lotus)  and  the  Danda  (staff)  " 

Cunda  is  once  again  mentioned  in  the  Dharamadhatuvaglsvara 
Mandala.  In  this  Mandala  her  form  is  described  in  the  following  words  : 

"Cunda   sukla   aksasutravalambita^kamandaludhara" 

NSP,  p.  57 

"Cunda  is  white  in  colour.  She  carries  in  her  two  hands  the  rosary 
to  which  a  Kamandalu  is  suspended. " 

A  third  form  of  Cunda  is  described  in  the  Nispannayogavali  in  the 
Manjuvajra  Mandala.  It  is  an  elaborate  description  of  Cunda  who 
is  here  endowed  with  as  many  as  twenty-six  arms.  The  relevant  extract 
is  quoted  below  : 

"Cunda  candravarna  sadvimsatibhuja  pradhanabhyam  hrdi  mula- 
mudram  daksinairabhayam  khadgam  ratnadama  bljapuram  sararh  para- 
sum  gadam  mudgaram  ahkusam  vajram  tripatakabhinayarh  aksasutram 
ca  ;  vamaiscintSmanidhvajam  padam  kamandalum  pasarh  capam  saktim 
cakram  khadgam  tarjanam  ghantam  bhindipalam  prajnaparamitapusta* 
karh  ca  vibhrati.  NSP,  p  49 


EMANATIONS  OF  VAIROCANA  223 

"Cunda  is  moon*white  in  colour.  She  has  twenty-six  arms.  With 
the  two  principal  hands  she  exhibits  the  chief  mudra  l.  In  the  remain- 
ing right  hands  she  shows  the  1.  Abhaya  mudra,  2.  sword,  3.  gar- 
land of  jewels,  4.  citron,  5.  arrow,  6.  axe,  7.  club,  8.  hammer,  9.  goad, 
10.  thunderbolt,  11.  Tripataka  and  12*  rosary.  In  the  remaining  left 
hands  she  shows  the  1.  flag  marked  with  Cintamani  jewel,  2.  lotus,  3. 
Kamandalu,  4.  noose,  5.  bow,  6.  javelin,  7.  discus,  8.  sword,  9.  Tarjam 
(raised  index  finger),  10.  bowl,  11.  Bhindipala  and  12.  the  Prajna- 
paramita  Scripture". 

Although  images  of  Cunda  with  twenty^six  arms  are  not  available, 
there  are  several  images  of  Cunda  with  sixteen  arms.  These  can  be 
identified  with  the  help  of  a  miniature  painting  of  sixteen-armed  Cunda 
(Fig.  162)  available  in  the  manuscript  No.  Add  1643  of  PrajnSparamita 
in  the  Cambridge  University  Library.  This  miniature  bears  a  label  in 
old  Newari  characters  which  reads  as  : 

"Pattikere  Cundavarabhavane  Cunda" 

"Cunda  in  the  excellent  temple  of  Cunda  at  Pattikera/ 

This  inscription  leaves  no  room  for  doubting  the  identification  of 
the  sixteen-armed  image  as  that  of  Cunda.  In  this  figure  also  the 
principal  pair  of  hands  exhibits  against  the  chest  the  mudra  which  is 
called  in  the  Sadhanaas  the  Mula  mudra  which  is  akin  if  not  equal  to  the 
Dharmacakra  mudra.  Foucher  has  given  a  description  of  the  miniature 
of  Cunda  in  his  L'Iconographie  Bouddhique,  part  I,  p.  199.  According 
to  him  the  two  principal  hands  exhibit  the  mudra  of  teaching.  The 
remaining  seven  right  hands  show  the  1.  Varada  mudra,  2.  thunderbolt, 
3,  discus,  4.  club,  5.  dagger,  6,  (indistinct)  and  1.  rosary.  In  the  seven 
left  hands  she  carries  the  1.  vessel,  2.  axe,  3.  trident,  4.  bow,  5.  dagger, 
6.  (indistinct)  and  7.  sceptre.  Dr.  N.  K.  Bhattasali  2  gives  a  slightly 
different  description  of  the  same  miniature. 

Thus  it  is  apparent  that  there  was  an  image  of  Cunda  in  the  Cunda 
temple  at  Pattikera  which  is  identified  by  Dr.  Bhattasali  with  the 
remains  on  the  Lalmai  hills  in  Tippera  in  East  Bengal  The  miniature 
of  the  Prajnaparamita  manuscript  obviously  depicts  the  sixteen-armed 
image  of  Cunda,  and  thus  becomes  instrumental  in  identifying  several 
of  her  unidentified  images. 

The  Baroda  Museum  image  (Fig.  163)  is  one  such  image  and  is  a 
small  and  very  artistic  piece  made  of  the  usual  octo-alloy  of  the  Nepalese 
school.  Thinly  covered  in  the  front  part  with  a  golden  leaf  or  polish 

1.  This  mudra  may  be  called  the  Cundamudra  which  is    akin  to  the  Dharmacakra 
mudra  displayed  by  Vairocana. 

2.  Bhattasali  :  1BBS,  p.  13. 


224  BUDDHIST  ICONOGRAPHY 

which  has  faded  out  at  many  places,  on  a  pedestal  there  is  the  prostrate 
figure  of  a  man  lying  on  his  back.  In  the  Paryahka  Asana  the  deity  sits 
on  the  prostrate  figure.  She  is  richly  dressed  and  is  decked  in  orna- 
ments such  as  necklace,  chain,  tiara,  ear-rings,  bracelets,  armlets,  anklets 
and  girdle.  She  is  sixteen-armed.  The  two  principal  hands  are  arranged 
in  the  form  of  a  mudra  which  is  akin  to  Dharmacakra  The  remaining 
seven  right  hands  show  downwards  from  the  top  the  L  sword,  2.  Damaru 
(kettle-drum),  3.  knife,  4.  (broken),  5.  hammer,  6.  garland  of  jewels, 
7.  Abhaya  mudra.  The  remaining  seven  left  hands  show  likewise  the 
1.  discus,  2.  bell,  3.  noose,  4.  dagger,  5.  goad,  6.  arrow  ard  7,  Vara- 
da  mudra.  The  deity  is  one-faced. 

The  Baroda  Museum  image  has  therefore  to  be  identified  with  Cunda, 
although  there  is  some  minor  variation.  Similarly,  the  Bodh  Gaya  image 
found  in  the  Hindu  monastery  (Fig.  164)  has  also  to  be  identified  with 
Cunda  with  sixteen  arms.  One  more  stone  image  of  Cunda  is  illustrated 
in  the  History  of  Bengal,  Vol.  I,  pi.  xxvi,  64.  Here  Cunda  has  eighteen 
arms  instead  of  sixteen  as  in  the  miniature. 

The  special  feature  of  the  Baroda  Museum  image  is  its  seat  which 
is  on  the  prostrate  figure  of  a  man.  This  kind  of  special  seat  is  absent 
in  all  other  images  of  Cunda  so  far  discovered  either  in  stone  or  in 
metal.  But  this  seat  appears  to  be  a  special  feature  of  the  Cunda 
images  which  it,  not  against  the  direction  of  the  Sadhana.  Cunda  is  said 
in  the  Sadhana  to  be  seated  on  a  Sattvaparyahka  or  a  seat  spread  on  a 
'Sattva'  which  usually  means  a  man  or  an  animaL  This  particular  bronze 
gives  the  indication  that  Sattvaparyahka  is  a  seat  that  is  placed  on  a  man 
lying  on  his  back. 

Cunda  is  popular  both  in  Tibet  l  and  China  -. 

8.    GRAHAMATRKA 

Faces — Three  Arm  s — Six 

Mudra — Dharmacakra        Asana — Vajraparyahka 

She  has  been  described  in  the  Dharmakosasangraha  in  the  following 
words  : 

"Grahamatrka  trimukha  svetapitarakta  sadbhuja  dakse  dharmacakra- 
mudia-vajra*sara  ;  vame  kamala'Capa  ;  sahasradalapadme  vajrasana". 

Dharmakosasafigraha.  fol,  44A. 


1.  Gordon  :  ITL,  p  74  ;  Getty  :  GNB,  pp.  129,  130. 

2.  Clark  :  TLP,  II,  pp.  285,  222,  284. 


EMANATIONS  OF  VAIROCANA  225 

"Grahamatrka  has  three  faces  of  white,  yellow  and  red  colour,  and 
six-arms,  displaying  the  Dharmacakra  mudra  (in  the  principal  pair  of 
hands)  and  carrying  the  Vajra  and  the  arrow  in  the  two  right  hands, 
and  in  the  two  left  the  lotus  and  the  bow*  She  sits  in  the  Vajrasona  on 
a  lotus  of  a  thousand  petals". 

Fig.  165  illustrates  a  miniature  painting  in  the  possession  of  Dr. 
EvanS'Wentz  l. 


] .    Getty  :   GNB,  illustrates  a  similar  miniature  on  plate  LXI,  p.  474. 

29 


CHAPTER  IX 

EMANATIONS  OF  AMOGHASIDDHI 

There  are  several  Buddhist  deities  emanating  from  the  Dhyani 
Buddha  Amoghasiddhi  whose  colour  is  green  and  whose  distinctive 
signal  is  the  Abhaya  mudrau  Out  of  the  deities  emanating  from  the 
Dhyani  Buddha  Amoghasiddhi  only  one  is  a  male,  while  all  others 
belong  to  the  female  sex.  The  description  of  the  only  male  deity, 
Vajramrta  by  name,  comes  from  the  Nispannayogavall  of  Abhaya* 
kara  Gupta.  The  deities  are  described  here  one  after  another  in  the 
order  of  their  importance, 

1.    VAJRAMRTA 

Colour — Green  Faces — Three 

Arms— Six 

Vajramrta  is  the  principal  deity  in  the  Vajramrta  Mandala  of  the 
Nispannayogavall.  He  is  described  thus  in  the  text  : 

"SriAfajramrtah  sattvaparyanki  priyangusyamah  sitaraktamulasavya- 
vamamukhatrayo. . . .  sadbhujah  savajraghantabhujayugmalingitasvabha' 
prajnah  savyabhyam  cakrasi  vamabhyam  pasankusau  vibhranah." 

NSP,  p.  18. 

" Vajramrta  sits  on  a  Sattvaparyanka  and  is  green  like  the  Priyangu 
flower.  He  is  three- faced,  the  right  and  left  faces  show  the  white  and 
red  colour.  He  is  six-armed.  The  two  principal  hands  holding  the 
Vajra,  and  the  Ghanta,  embrace  the  Prajna  of  his  own  creation.  The 
two  other  right  hands  carry  the  discus  and  the  sword,  and  the  two  left 
show  the  noose  and  the  goad." 

Vajramrta  is  represented  in  China  l . 

2.    KHADIRAVAMTARA      v/ 

Colour — Green  Mudra — Varada 

Symbol — Utpala  * 
Companions — Asokakanta  and  Ekajata. 

Tara  is  the  common  name  applied  to  a  large  number  of  feminine 
deities  in  the  Buddhist  pantheon.  In  the  Sadhanamala,  Jahguli,  Parna- 
saban.  Mahaclnatara,  Ekajata  and  many  others  are  called  Taras, 

1.    Clark :  TIP,  II,  p.  236,  ~~ 


EMANATIONS  OF  AMOGHASIDDHI  227 

including  Khadiravam,  who  is  endowed  with  two  hands,  showing  the 
Varada  mudra  in  the  right  and  the  Utpala  in  the  left.  She  can  be 
recognized  by  the  figures  of  the  two  attendant  deities,  Asokakanta 
Marlci  and  Ekajata.  One  Sadhana  in  the  Sadhanamala  contains  a 
Dhyana  which  describes  her  form  thus  : 

"Haritam  Amoghasiddhimakutim  varadotpaladharidaksinavamaka- 
ram  Asokakanta* Marlcy-Ekajatavyagradaksinavamadigbhagam  divyaku* 
manm . . .  dhy  atva'  * 

Khadiravam-Tara-Sadhanam"  Sadhanamala,  p.  176 

"The  worshipper  should  conceive  himself  as  KhadiravanT'Tara  of 
green  colour,  who  bears  the  image  of  Amoghasiddhi  on  her  crown, 
and  shows  the  Varada  mudra  and  the  Utpala  in  the  right  and  left  hands 
respectively.  To  the  right  and  left  of  her  appear  Asokakanta  Marlci 
and  Ekajata,  and  she  appears  a  celestial  virgin... Thus  meditating  " 

She  is  commonly  known  as  Syama-Tara  ]  because  of  her  green 
colour,  and  as  the  Sadhana  does  not  mention  any  particular  A.sana  she 
may  be  represented  in  any  attitude,  either  sitting  (Fig.  166)  or  standing 
(Fig.  167).  A  beautiful  statuette  in  the  Baroda  Museum  shows  the 
goddess  in  the  Lahta  attitude  (Fig.  168) 

Images  of  Khadiravam  Tara  are  found  in  Tibet  -  and  China  i> 

3.    MAHASRI  TARA        ^ 
Colour — Green  Arms — Two 

Mudra— Vyakhy  ana        Companion— Four 

Another  deity  emanating  from  the  Dhyani  Buddha  Amoghasiddhi 
of  green  colour  is  Mahasri  Tara  "Saviouress  of  Great  Beauty".  A  single 
Sadhana  in  the  Sadhanamala  describes  her  form  along  with  her  four 
companion  deities,  such  as  Ekajata,  Asokakanta  Marlci,  Aryajangull 
and  Mahamayurl.  The  Sadhana  describes  her  form  as  follows  : 

Mahasritaram  candrasanastham  syamavarnarh  dvibhujam  hastadva* 
yena  vyakhyanamudradharam  ekavaktram  sarvalahkarabhusitam  pars^ 
vadvayenotpalasobham  suvarnasimhasanopari  apasrayadisobham  nana* 
puspSsokacampakanagesvaraparijatakadibhirajitarh-Amoghasiddhimuku* 
tinlm.  *  Sadhanamala,  p.  244-245 

"Mahasn  Tara  sits  on  the  seat  of  the  moon,  and  is  green  in  colour  ; 
she  is  endowed  with  two  hands  which  exhibits  the  Vyakhyana  mudra. 
She  is  one-faced  and  is  adorned  with  ornaments.  Two  lotuses  beautify 


1.  IBBS  :  p.  56,  PL  XXI-XXII. 

2.  Getty:GNB,p.  125 

3.  Clark  :  TIP,  II,  p.  267. 


228  BUDDHIST  ICONOGRAPHY 

her  sides.  She  sits  on  a  golden  throne  furnished  with  beautiful  cushions. 
She  is  decked  in  a  variety  of  flowers  like  the  Asoka,  Campaka,  Nagesvara 
and  Parijataka.  She  bears  on  her  crown  a  small  figure  of  Amogha- 
siddhi." 

Later,  the  Sadhana  gives  a  description  of  the  four  companion 
deities.  Here  Ekajata  who  is  stationed  apparently  to  the  left  of  the 
central  deity,  is  of  the  following  description  : 

"Ekajatarh  ardhaparyahkopavistam  nllavarnam  kartrikapaladharam 
sakrodharh  lambodaram  pihgalajatavibhusitam  vyaghracarmambaradha- 
ram."  Sadhanamala,  p.  245 

'Ekajata  sits  in  the  Ardhaparyahka,  is  blue  in  colour,  holds  the  Kartri 
(  knife  )  and  the  Kapala  (skull),  and  is  angry-looking  with  a  protruding 
belly.  Her  hair  is  of  fiery  red  colour  and  matted,  and  she  wears  a 
garment  made  of  tiger-skin." 

In  the  corresponding  right  side  appears  Asokakanta  who  is  described 
in  the  following  words  : 

Daksine  parsve  Asoka  kantarh  pitavarnam  ramamukutinim  vajiaso- 
kadharam."  Sadhanamala,  p.  245. 

"Towards  the  right  is  Asokakanta  who  is  yellow  in  colour,  wears  a 
crown  of  jewels,  and  carries  the  Vajra  and  the  Asoka  flower." 

The  goddess  Arya-JahgulI  also  appears  on  the  further  left,  behind  the 
figure  of  Ekajata,  and  is  described  here  as  follows  : 

"Purnarvame  Arya-Jangullm  syamavarnam  sarpavaradahastam.'' 

Sadhanamala,  p.  245. 

"Further  to  the  left  there  is-Arya-Jahguli  of  green  colour  showing  in 
her  hands  the  snake  and  the  Varda  mudra." 

In  the  extreme  right  there  is  another  goddess  called  Mahamayurl. 
She  is  given  the  following  form  in  the  Sadhana  : 

"Daksine  Mahamayurim  mayurapicchavaradahastam". 

Sadhanamala,  p.  245. 

"In  the  right  there  is  Mahamayurl  showing  the  peacock's  feathers  and 
the  Varada  mudra,* 

The  mantra  of  the  central  deity  Mahasri  Tara  is  given  in  the  Sa- 
dhana as  : 

"Om  Tare  Tuttare  Ture  dhanam  dade  Svaha". 

The  mantra  evidently  makes  her  a  goddess  of  wealth,  and  as  such 
the  deity  must  have  been  worshipped  by  the  Tantric  Buddhists,  Accord- 
ing to  a  further  statement  she  sits  in  the  Rajalila  Asana  or  the  pose  of 
princely  ease. 


EMANATIONS  OF  AMOGHASIDDHI  229 

Only  one  statuette  of  the  deity  has  been  discovered  so  far.  It  is 
now  in  the  Indian  Museum,  Calcutta  (  Fig.  169  ),  In  conformity  with 
the  Sadhana  the  principal  deity  Mahasn  Tara  is  shown  as  one-faced 
and  two*armed  exhibiting  the  Vyakhyana  or  the  Dharmacakra  mudrcu 
There  are  two  night  lotuses  on  either  side.  The  principal  deity  sits 
in  the  Rajalila  pose  on  a  lion-throne  and  bears  on  her  crown  the 
miniature  figure  of  Amoghasiddhi  with  the  Abhaya  mudra. 

To  her  left  is  the  fierce  figure  of  Ekajata,  sitting  in  the  Ardhaparyan* 
ka  attitude  and  holding  the  Kartri  and  the  Kapala  in  the  two  hands.  She 
has  a  protruding  belly,  garment  of  tiger-skin,  and  she  bears  a  wrathful 
demeanour  which  is  clear  on  the  stone. 

To  her  right  similarly,  sits  Asokakanta  Marie!  who  wears  a  bejewelled 
crown,  and  carries  the  Vajra  and  the  A soka  flower  according  to  the 
direction  of  the  Sadhana* 

The  statuette  also  depicts  Arya-Jahguli  towards  the  extreme  left  of 
the  deity  and  shows  the  snake  and  the  Varada  mudra  in  accordance  with 
the  direction  of  the  Sadhana. 

The  statuette  also  includes  the  small  figure  of  Mahamayuri  to  the 
extreme  right  of  the  principal  goddess.  She  shows  the  peacock's 
feathers  and  the  Varada  mudra. 

The  Indian  Museum  image  seems  to  be  the  only  image  representing 
Mahasn  Tara  where  the  sculpture  does  not  deviate  even  a  little  from 
the  description  given  in  the  Sa  Jhanamala  l . 

**J 
4.    VASYATARA 

Asana — Bhadr  asana  Sy  m  bol — Lotus 

Mudra — Varada  Colour — Green 

Vasyatara,  is  also  known  by  the  name  of  Aryatara,  and  only 
one  Sadhana  in  the  Sadhanamala  is  assigned  to  her.  There  is 
practically  no  difference  between  her  form  and  that  of  Khadira- 
vam-Tara  in  as  much  as  both  display  the  Varada  mudra  in  the 
right  hand  and  carry  the  Utpala  in  the  left.  Both  have  green  colour, 
and  both  bear  the  image  of  Amoghasiddhi  on  their  crowns.  In  the 
case  of  Khadiravam-Tara,  however,  no  mention  is  made  regarding 
the  attitude  in  which  she  should  stand  or  sit,  but  here  it  is  expressly 
mentioned  that  Vasyatara  should  be  seated  in  the  Bhadrasana,  which 
resembles  the  European  fashion  of  sitting  with  both  legs  dangling  below 

1.  For  an  article  on  the  subject  see  Proceedings  of  the  Third  Oriental  Conference, 
Madras,  p.  257  et.  seq,— Identification  of  an  Indian  Museum  Statuette.  Besides  this 
there  are  some  miniature  paintings  depicting  Mahalrltara. 


230  BUDDHIST  ICONOGRAPHY 

This  Asana,  or  the  attitude  of  sitting  alone  distinguishes  Vasystara  from 
othetf  6fdinary  Taras  carrying  the  Utpala  in  the  left  and  exhibiting  the 
Varada  mudra  in  the  right.  The  other  point  of  difference  between 
Khadiravam-Tara"  and  Vasyatara  is,  that  the  former  is  accompanied  by 
the  two  goddesses,  Asokakanta  Marici  and  Ekajata,  whereas  the  latter  is 
without  companions.  Khadiravam  may  sit  or  stand  in  any  attitude, 
but  the  Sadhana  prescribes  the  Bhadrasana  only  for  Vasyatara. 

The  accompanying  sketch  (Fig.  170)  represents  Vasyatara  as  she  is 
pictured  in  Nepal,  and  its  special  importance  lies  in  its  depiction  of  the 
Bhadrasana  attitude  in  which  the  goddess  sits  1 . 

.      5.     SADBHUjA  SIT  AT  AR  A 
Colour — White  Asana — Ardhaparyahka 

Faces — Three  Arms — Six 

There  are  many  Sadhanas  for  Sitataras,  or  the  Taras  of  white  colour 
but  in  none  of  them  are  they  mentioned  as  bearing  the  image  of 
Amoghasiddhi  on  their  crowns.  It  is  only  in  this  case  that  the  image 
of  the  Dhyani  Buddha  is  expressly  mentioned.  This  White  Tara  is 
three-faced  and  six*armed,  and  the  Dhyana  describes  her  form  in  the 
following  terms  : 

"Sitatararh  trimukharh  sadbhujam  pitamladaksinetaramukhim  pra- 
timukham  trinetram  varada-ksasutra-saradharadaksinatrikaram  utpala- 
padma'Capadharavamapanittayam  ardhaparyankanisannarh  candrasanaca~ 
ndraprabham  jatamukutasthit-Amoghasiddhiih  pancamundavibhusitam- 
astakarii  ardhacandrakrtasekhararh  nanalankaradharam  dvirastavarsakr* 
tirh  astasmasanamadhyasthitam..  vicintya/5 

Sadbhuja'Sukla-Tarasadhanam  Sadhanamala,  p.  216 

"The  worshipper  should  conceive  himself  as  Sitatara,  who  is  three- 
faced,  and  six-armed.  Her  right  face  is  yellow  and  the  left  blue  in  colour, 
and  the  faces  are  endowed  with  three  eyes  each.  Her  three  right  hands 
show  the  Varada  mudra,  the  rosary  and  the  arrow,  and  the  three  left 
carry  the  Utpala,  the  lotus  and  the  bow.  She  sits  in  the  Ardhaparyanka 
attitude,  sits  on  and  shines  like  the  moon,  and  bears  the  effigy  of  Amo- 
ghasiddhi  on  her  crown  of  matted  hair.  Her  head  is  embellished  by  five 
severed  heads  and  the  crescent  moon.  She  is  decked  in  many  ornaments, 
is  twice  eight  years  old,  and  resides  in  the  midst  of  the  eight  cremation 
grounds.  Thus  meditating..." 

The  accompanying  sketch  (Fig.  171)  shows  how  she  is  represented  in 
Nepal.      It  tallies  in  all    respects  with  the  description  given  in  the 
I.    For  the  Sadhana,  see  Sadhtnamala,  p.  173. 


EMANATIONS  OF  AMOGHASIDDHI  231 

Sadhana,  except  that  here  she  is  represented  in  Vajraparyahka  instead  of 
Ardhaparyanka  as  required  by  the  Sadhana. 

She  is  known  to  the  Chinese  collection  at  Peiping  2, 

6.    DHANADA^TARA         / 
Arms— Four  Colour— Green 

Dhanada-Tara  is  one  of  the  four-armed  varieties  of  Tara.  The 
special  features  of  this  goddess  are  that  she  rides  an  animal,  and  like 
Vajratara,  is  surrounded  by  eight  goddesses,  originating  from  the  eight 
syllables  of  the  famous  mantra  "Om  Tare  Tuttare  Ture  Svaha".  The 
symbols  that  are  held  in  her  four  hands  are  also  different  from  all  other 
varieties  of  four-armed  Tara.  The  Dhyana  describing  her  form  runs  as 
follow  : 

"Tara-Bhagavatim  atmanath  bhavayet  ;  candrasanaprabham  saumyarh 
sattvaparyankasthaih,  haritasyamam  ekavadanam  dvilocanam  catur* 
bhujam  aksasutravaradotpalapustakadharam  vicitravastralankarava- 
tirh-Xocanadibhir-devibhlr-abhisiktam  atmanam  Amoghasiddhimuku- 
tarn  dhyayat." 

Dhanada-Tara  Sadhanam."  Sadhanamala,  p.  219, 

'The  worshipper  should  conceive  himself  as  goddess  Dhanada  Tara, 
who  is  seated  on  and  has  the  radiance  of  the  moon,  is  benign  in  appear- 
ance, sits  on  an  animal,  has  green  complexion,  one  face,  two  eyes, 
and  four  arms  showing  the  rosary,  the  Varada  pose,  the  Utpala  and  the 
book.  She  wears  variegated  ornaments  and  garments... The  worshipper 
should  further  conceive  himself  as  receiving  homage  from  the  goddesses, 
Locana  and  others,  and  as  bearing  the  image  of  Amoghasiddhi  on  the 
crown/' 

Images  of  Dhanada  Tara  are  found  in  Tibet  *  and  China  3.  Fig.  172 
illustrates  a  Nepalese  drawing. 

7.     SITATARA 

Colour — White  Arms— Four 

Mudra — Utpala  Mudra 

Sitatara,  as  the  name  implies,  is  a  Tara  of  white  variety  with  one 
face  and  four  arms.  She  is  accompanied  by  two  goddesses  Marici  and 
Mahamayun.  It  may  be  remembered  that  Khadiravam  also  is  accom- 
panied by  Marici  and  Ekajata  ;  but  the  difierence  is  that  Khadiravam 

1.  Clark:    TLP,  II, p.  282 

2.  Getty  :  GNB,  p.  123. 

3.  Clark  ;  TLP,  II,  p.  283 


232  BUDDHIST  ICONOGRAPHY 

is  two-armed  whereas  Sitatara  is  four-armed.  The  Dhyana  contained 
in  the  only  Sadhana  for  her  worship  in  the  Sadhanamala  describes  her 
form  in  the  following  terms  : 

"Tarabhagavatlm  suklam  trinetram  caturbhujam  Panca'Tathagatamu- 
kutim  nanalahkaram,  bhujadvayena  utpalamudram  dadhanarh,  daksma- 
bhujena  cintamaniratnasamyuktavaradam,  sarvasattvanam  asam  pari* 
purayantirh,  vamenotpalamanjarim  vibhranam  dhyayat. 

Tasya  daksinaparsve  Mariclrh  pitarh  candrasanam  nilambaram 
dvibhujam  ;  vamena  raktasokapallavadharam,  daksinena  sitacamara' 
dharam  ;  raktakancukabharanam. 

Vamaparsve  Mahamayurim  priyangusyamam  dvibhujam  ;  vamena 
mayurapicchadharam,  daksinena  camaradharam,  evam  vicintya..." 

Sadhanamala,  p.  215. 

'The  worshipper  should  visualise  himself  as  the  goddess  (Sita)- 
Tara  of  white  complexion,  with  three  eyes  and  four  arms.  She  bears 
the  images  of  the  five  Dhyani  Buddhas  on  her  crown,  is  decked  in 
many  ornaments,  exhibits  the  Utpala  mudra  with  the  first  pair  of  hands, 
displays  the  Varada  mudra  along  with  the  Cintamani  jewel  in  the  second 
right,  and  carries  the  Utpala  bud  in  the  second  left,  and  fulfils  the 
prayers  of  all  beings. 

To  her  right  is  MancI  who  is  yellow  in  complexion,  sits  on  the 
moon,  is  clad  in  blue  garments,  is  two^armed,  and  carries  the  bough 
with  red  Asoka  flowers  in  the  left  hand  and  the  Camara  in  the  right. 
She  wears  a  red  jacket  and  ornaments. 

To  her  left  is  Mahamayuri  of  green  colour,  like  the  Priyahgu  fruit, 
who  is  two- armed  and  carries  the  peacock's  feathers  in  the  left  hand 
and  the  Camara  in  the  right.  Thus  meditating...". 

Images  of  Sitatara  ar^  found  in  Tibet  1  and  China  -. 

>•/   8.    PARNASABARI 
Colour — Green  Faces — Three 

Vahana— -  Diseases  (in  human  form)  Asana— Pratyalidha. 

One  form  of  Parnasabari  of  yellow  colour  has  already  been  discuss- 
ed along  with  the  female  emanations  of  the  Dhyani  Buddha  Aksobhya. 
But  here  her  complexion  is  green  probably  because  the  Dhyani  Buddha 
Amoghasiddhi,  from  whom  she  is  said  to  emanate,  is  of  that  colour. 
The  Mantra  calls  her  'PisacP  and  also  'Sarvamariprasamani'  or  **the 
destroyer  of  all  diseases  and  epidemics".  She  is  almost  identical 

1      Getty:  GNBp.  122.  ' 

2,    Clark  :  TLP,  II,  pp  189,216. 


EMANATIONS  OF  AMOGHASiDDHI  233 

with  the  form  that  has  been  described  previously,  except  that  here 
her  colour  is  green  and  she  bears  the  image  of  Amoghasiddhi  on  her 
crown,  instead  of  that  of  Aksobhya.  She  carries  the  same  weapons 
as  the  previous  one,  but  the  expressions  of  their  faces  are  very 
different,  there  a  pleasant  beaming  smile,  here  an  angry  laugh.  As  the 
two  specimens  of  Parnasabari  discovered  in  East  Bengal  both  bearing 
the  image  of  Amoghasiddhi  on  the  crown,  it  is  necessary  to  quote  the 
Dhyana  in  this  case  also,  for  a  comparison  of  the  details  with  the 
images  reproduced  here  : 

'Tarnasabarim  haritam  trimukham  trinetram  sadbhujam  krsnasukla- 
daksinavamananam  vajra-parasu-saradaksinakaratrayam  karmuka-patrac* 
chata-sapasatarjanivamakaratrayam  sakrodhahasitananamnavayauvanava- 
tim  sapatramalavyaghracarmanivasanam  isallambodarlm  urdhvasamya- 
takeslm  adho  asesarogamaripadakrantam  Amoghasiddhimukutim 
atmanarh  jhatiti  mspadya  .."  Sadhanamala,  p.  308. 

'The  worshipper  should  conceive  himself  as  Parnasabari,  who  has  a 
green  complexion,  three-faces,  three  eyes,  and  six  arms.  Her  right  and 
left  faces  are  of  blue  and  white  colour  respectively.  She  carries 
in  her  three  ri^ht  hands  the  Vajra,  the  Parasu  and  the  arrow,  and  in  her 
three  left,  the  bow,  the  cluster  of  leaves  and  the  Tarjanipasa.  Her  faces 
show  an  angry  laugh.  She  is  in  the  prime  of  youth,  is  decked  in  tiger* 
skin  and  a  garment  of  leaves,  has  a  slightly  protruding  belly,  and  hair 
tied  up  above.  She  tramples  under  her  feet  various  diseases  and  pestile- 
nces, and  bears  the  image  of  Amoghasiddhi  on  the  crown  Thus 
meditating..  ". 

The  two  images  of  Parnasabari  (Figs.  173  and  174)  have  been  dis- 
covered by  Mr.  N.  K.  Bhattasali  ].  These  two  images  follow  the 
Sadhana  most  accurately  in  all  details  ;  the  angry  laugh  has  been 
correctly  depicted  in  the  three  faces,  and  the  belly  slightly  protrudes. 
To  the  right  and  left  are  two  divinities,  Hayagnva,  the  Hindu  god 
of  Fever,  and  Sitala,  the  Hindu  goddess  of  small-pox,  and  they 
are  represented  in  the  images  as  flying  in  opposite  directions 
to  escape  the  wrath  of  Parnasabari.  The  prostrate  figures  under 
the  feet  are  the  Diseases  and  Pestilences,  in  human  shape.  The 
figure  under  the  right  leg,  apparently,  is  a  man  attacked  with  small-pox, 
as  we  can  judge  from  the  circular  marks  all  over  his  body  ;  the  other 
figure  under  the  left  foot,  is  probably  attacked  with  some  fatal  disease. 
Both  the  images  of  Parnasabari  are  decidedly  very  fine  specimens  of  the 
Bengal  school  of  art, 

l7~Bhattasali  :  IBBS,  p.  58f.  Plate  XXIII. 

30 


234  BUDDHIST  ICONOGRAPHY 

Parnasabarl  is  represented  in  Tibet  ]  and  China  2. 

9.    MAHAMAYURI 

Colour — Green  Faces — Three 

Arms — Six  Asana — Ardhaparyahka 

Mahamayun  is  another  goddess  of  the  Pancaraksa  group,  and  is 
affiliated  to  Amoghasiddhi  in  the  same  way  as  the  other  members  of  the 
group  are  affiliated  to  one  or  another  of  the  Dhyani  Buddhas.  She  is 
different  in  form  when  worshipped  in  the  Pancaraksa  Mandala,  which 
will  be  described  later.  When  she  bears  the  image  of  Amoghasiddhi 
on  the  crown  she  is  three-faced  and  six-armed,  but  she  may  have  another 
form  with  one  face,  two  arms  and  yellow  complexion,  in  which  case 
she  will  hold  peacock's  feathers  in  the  rioht  hand  and  display  the  Varada 
mudra  in  the  left.  The  three-faced  and  six-armed  form  of  Mahamayun 
has  been  described  in  the  Sadhanamala  as  follows  : 

"Mahamayurim  haritavarnam  trimukham  sndbhujarh  pratimukham 
trinetram  krsnasukladaksinetravadanam  ;  daksinatnhastesu  yathakra* 
mam  rnayurapiccha-bana-varadamudrah  ;  tatha  vamatrihastesu  ratnacch- 
tacapotsangasthakalasah  ;  vicitrabharanam,  srhgararasam,  navayau* 
vanum,  candrasane  candraprabhavatim  ardhaparyankimm  Amoghasiddi- 
mukutirh  bhavayet  atmanam".  Sadhanamala,  p.  400. 

"The  worshipper  should  visualise  himself  as  Mahamayun,  who  has 
a  green  complexion,  six  arms,  and  three  faces,  each  endowed  with  three 
eyes.  Her  right  and  left  faces  are  of  blue  and  white  colour  respec- 
tively. She  shows  in  her  three  light  hands  the  peacock's  feathers,  the 
arrow  and  the  Varada  mudra,  and  similarly,  in  the  three  left  hands  the 
jewel,  the  bow,  and  the  water-vessel  on  the  lap.  She  is  decked  in 
wonderful  ornaments,  displays  the  sentiment  of  passionate  love,  is 
youthful,  has  her  seat  on,  and  the  radiance  of  the  moon,  sits  in  the 
Ardhaparyahka  attitude,  and  bears  the  image  of  Amoghasiddhi  on  the 
crown". 

Mahamayun  is  popular  in  Tibet  '••  and  China  4  and  her  images  are 
found  in  these  countries.  She  is  said  to  nullify  the  effect  of  snake- 
poison. 

1.  Gordon:  ITL,  p,  71  ;  Getty  :  GNB,    p.  134,  135. 

2.  Clark:    TLP,  II,  pp.    207,  287  two-armed,  287. 

3.  Gordon  :  ITL,  p,  74  ;  Getty  :  GNB,  p,  136. 

4.  Clark:  TLP,  II,  pp.  206,  275. 


EMANATIONS  OF  AMOGHASIDDHI  235 

10,  VAJRA£RNKHALA 

Colour — Green  Faces — Three 

Arms — Eight  Asana — Lalita 

Symbol — Chain 

Three  Sadhana^  in  the  SaJhanamala  are  devoted  to  the  worship  of 
Vajrasrnkhala.  Her  colour  is  green,  and  as  she  emanates  from  Amo- 
ghasiddi  she  bears  the  image  of  that  Dhyani  Buddha  on  the  crown. 
"Srnkhala'1  means  a  chain,  and  as  the  goddess  carries  a  chain,  marked 
with  a  Vajra,  she  is  called  Vajrasrnkhala.  The  chain,  therefore,  is  her 
characteristic  sign  and  should  be  paid  particular  attention  to,  in  identi- 
fying her  images,  if  ever,  thev  come  ro  light.  She  may  be  compared 
with  Vajrasphota  another  chain- bearing  deity.  One  of  the  Dh>anas 
describes  her  form  in  the  following  manner  : 

"Haritarh  trimukharh  astabhujam;  prathamamukham  Isaddhasarasarh; 
daksmarh  kapilarh  kapilalocanarh  ca  ;  vumarh  raktarh  bhrkutidarhstra- 
karalarh  ;  daksinesu  catuhkaresu  abhaya-vajra-srhkhala-saradhaiarii  ; 
vamacatuhkaraih  rudhirapurnakapala-tarjani-pasa-capadharam  ;  lalitak- 
sepasanastharh,  marjjaracarmottariyam,  Amoghasiddhibhusitoidhva- 
pingalakesam  vicmtya... 

Vairasrhkhaia-Sadhanam/'  Sadhanamala,  p.  414. 

"The  worshipper  should  visualise  himself  as  (Vajrasmkhala)  of 
green  compiexion,  with  three  faces  and  eight  arms.  Her  first  face  is 
gently  smiling,  right  face  is  of  brown  colour  with  brown  eyes,  and  the 
left  is  of  red  colour  and  appears  temble  with  contortions  ot  the  brows 
and  bare  fangs.  She  shows  in  the  four  right  hands  the  Abhaya  pose, 
the  Vajra,  the  Vajrasrhkhala  and  the  arrow,  and  in  the  four  left,  the 
Kapala  full  of  blood,  the  Tarjani,  the  noose  and  the  bow.  She  sits 
in  the  Lalita  attitude,  ha^  a  scarf  of  cat's  skin,  and  her  brown  hair  rises 
upwards  and  is  decorated  with  the  image  of  Amoghasiddhi.  Thus 
meditating  .". 

Vajrasrnkhala  may,  according  to  the  Sadhanas,  have  another  form  l 
with  three  faces  and  six  arms,  in  which  case  she  carries  the  Vajra,  the 
Vajra srhkhala  and  the  arrow  in  the  three  right  hands  ;  and  the  Tarjani, 
the  noose  and  the  bow  in  the  three  left  hands.  The  illustration  (Fig. 
175)  shows  this  form  of  the  goddess  as  drawn  by  the  native  Citrakaras 
of  Nepal.  She  is  represented  in  China  -. 

1.  Sadhana  No.  207  in  the  Sadhanamala,  p.  413. 

2.  Clark:   TLP,  II.  pp.  19f,  311.  '        '        '  .'"":' 


236  BUDDHIST  ICONOGRAPHY 

11.    VAJRAGANDHARI 

Colour — Blue  Faces — Six 

Arms — Twelve  Asana — Pratyalidha 

The  name  of  Vajragandharl  is  already  mentioned  in  connection  with 
the  Mandala  of  the  eight-armed  Kurukulla,  an  emanation  of  Amitabha. 
In  this  Mandala  it  is  definitely  said  that  Vajragandhan  should  bear  the 
image  of  his  sire  Amoghasiddhi  on  her  crown.  She  is  thus  included 
in  the  family  of  Amoghasiddhi.  Vajragandhan  is  one  of  the  terrible 
goddesses  endowed  with  six  faces  and  twelve  arms.  A  short  Sadhana 
in  the  Sadhanamala  describes  her  form  as  follows  : 

**Vajragandhari  krsna  sanmukhi  dvadasabhuja  urdhvapingalakesl 
pratyalldhapada  darhstrakaralavadana  pratimukham  trinetra.  Daksina* 
bhujesu  yathakramam  va]ra  vajraghanta-khadga-trisula-bana*cakrani  ; 
vamasadbhujesu  khatvahg  ahkusa'dhanuh-parasu-pasa-hrttarjanyah  ; 
prathamamukham  krsnam,  aparani  mukhani  pancavarnani  visvapadma*- 
suryasana  ceti".  Sadhanamala,  pp.  403*404. 

''Vajragandhari  is  blue  in  colour,  six^faced  and  twelve-armed  with 
brown  hair  rising  upwards.  She  stands  in  the  Pratyalidha  attitude,  and 
her  faces  look  terrible  with  bare  fangs  and  three  eyes.  She  carries  in  her 
six  right  hands  1.  the  Vajra,  2.  the  bell  marked  with  a  Vajra,  3.  the 
sword,  4.  the  trident,  5.  the  arrow,  and  6.  the  discus,  and  in  the 
six  left  hands  1.  the  Khatvafiga,  2.  the  goad,  3.  the  bow,  4.  the 
Parasu,  5.  the  noose  and  6.  the  Tarjani  against  the  chest.  Her  first 
face  is  blue,  and  the  other  five  faces  show  five  different  colour.  She 
rests  on  the  sun  supported  by  a  double  lotus". 

The  Dharani  quoted  in  the  Sadhanamala  gives  her  the  epithets  of 
YoginI  and  Bhismabhagini,  and  she  is  believed  to  be  the  consort  of  the 
Yaksa  general,  Candavajrapani  by  name. 

Statuettes  of  this  goddess  are  found  in  China  l 


I.    Clark  i  TIP,  II,  pp.  196*  290. 


CHAPTER  X 

EMANATIONS  OF  RATNASAMBHAVA 

I.    GODS 

Ratnasambhava  is  comparatively  unimportant  in  the  pantheon  of 
the  Northern  Buddhists,  as  is  evident  from  the  small  number  of  deities 
that  emanate  from  him.  It  has  already  been  pointed  out  that  Jambhala 
and  Vasudhara  were  known  long  before  the  Dhyani  Buddhas  were 
ushered  into  existence  and  it  appears,  therefore,  that  Jambhala  has  been 
assigned  to  Ratnasambhava  at  a  late  period.  Jambhala  is  connected 
with  wealth  and  is  said  to  distribute  gems,  jewels  and  riches  to  his 
devotees.  Again  Ratnasambhava  means  'Jewel-born'  and  whom  might 
Jambhala,  the  god  of  wealth,  call  his  sire  if  not  the  Dhyani  Buddha 
born  of  jewels  ?  If  one  or  two  forms  of  Jambhala  emanate  from 
Ratnasambhava,  it  may  be  reasonably  expected  that  at  least  one  or  two 
forms  of  his  consort,  Vasudhara,  should  also  issue  from  the  same  source. 
Inspite  of  all  this,  the  Buddhists  were  divided  in  their  opinion  as  to  the 
sire  of  Jambhala,  the  followers  of  the  Aksobhya  cult  holding  him 
as  originating  from  Aksobhya. 

Mahapratisara,  another  of  his  emanations,  belongs  to  the  Pancaraksa 
group,  and  affiliates  herself  to  Ratnasambhava  in  the  same  way  as  the 
other  members  of  the  group  affiliate  themselves  to  one  or  another  of  the 
five  Dhyani  Buddhas.  Ratnasambhava  is  distinguished  from  the  other 
Dhyani  Buddhas  by  his  yellow  colour  and  the  Varada  mudrahe  displays 
with  his  right  hand.  The  male  deities  that  emanate  from  Ratnasambhava 
are  Jambhala  and  Ucchusma-Jambhala,  the  latter  being  regarded  as  a 
terrible  form  of  Jambhala. 


1.    JAMBHALA 

Several  of  Jambhala's  forms  are  noticed  in  the  Sadhanamala,  which 
states  that  the  god  may  emanate  either  from  Aksobhya,  or  from  Ratna- 
sambhava. The  form  that  emanates  from  Akaobhya 


de?cr4H^  The  characteristic  feature  of  Jambhala  emanating  from 
Ratnasambhava  is  that  he  carries  the  mongoose  in  his  right  hand  and  the 
citron  in  the  left.  The  mongoose  is  supposed  to  be  the  receptacle  of 
all  gems  and  jewels,  and  when  Jambhala  presses  the  two  sides  of  the 
mongoose  it  vomits  the  treasures  within*  It  is  this  mongoose  which 


238  BUDDHIST  ICONOGRAPHY 

makes  it  easy  to  identify  Jambhala  images.  As  an  emanation  of  Ratna- 
sambhava  he  may  either  be  represented  alone,  or  in  the  embrace  of  his 
Sakti  in  yab^yum.  In  the  Sadhanamalu  only  three  Dhyanas  describe 
him  as  single. 

When  represented  in  yab*yum,  he  sits  on  the  moon  under  which 
there  is  a  double  lotus  of  eight  petals.  He  wears  all  sorts  of  ornaments, 
his  complexion  is  golden  yellow  and  he  hj,^  j  protruding  belly,  He 
carries  the  citron  and  the  mongoose  in  the  n^ht  and  left  hands  res- 
pectively, wears  a  garland  of  yellow  lotus,  a  Lid  remains  in  yab-yum  with 
Vasudhara.  The  eight  petals  of  the  lotus  seat  Jte  occupied  by  the  eight 
Yaksas,  to  wit,  Manibhadra,  Purnabhadia^  Ohanada.  VaisrayanaT  Keli- 
mall,  Ciyikundali,  Sukhendra  an3~lSarendtj  'who  are  identical  in  all 
respects  with  the  principal  ""figure.  Each  Yaksa  is  accompanied  by  a 
Sakti  with  whom  he  remains  in  yab-yum  in  the  vdme  way  as  Jambhala 
remains  with  Vasudhara,  and  the  names  oi  tiK'se  eight  Yaksinis  are  : 
Citrakali,  Datta,  Sudgtta^^Ary^  SubhadriL. AJ.upta.r-  Devi  and  Sarasvatl. 
The  Yaksinis  are  identical  in  form  with  V  jsuJhtha,  who  is  yellow7  in 
complexion,  carries  the  ears  of  corn  and  show^  rhe  Varada  mudra  in 
her  two  hands. 

When  single,  Jambhala  is  of  golden  complexion  and  carries  the 
mongoose  in  the  left  hand  and  the  citron  in  the  nght.  The  illustration 
(Fig.  176)  shows  a  stone  image  from  Nepal  w  huh  was  in  the  possession 
of  the  late  Pandit  Siddhiharsa.  Here  the  god  is  represented  as  sitting  in 
the  Lalita  attitude.  Two  other  specimen*  (Hys.  177  and  178)  from 
Vikrampur1,  in  Eastern  Bengal,  depict  the  god  in  the  same  attitude*  and 
they  are  some  of  the  finest  products  of  the  IVn^al  art  of  medieval  times. 

There  is  another  form  of  Jambhala  whion  is  two-armed,  carries  the 
citron  and  the  mongoose  in  his  two  hands  jnJ  tramples  upon  two  semi- 
divine  beings  Sankhamunda  and  Padmamunda  by  name,  apparently  in 
the  Alidha  attitude  -. 

(a)     JAMBHALA  (Yab-Yum) 

Colour — White  Faces—  Three 

Arms — Six 

Jambhala  in  yab-yum  has  another  form  with  three  faces,  six  arms  and 
white  colour.  According  to  the  Sadhana  hus  t\\o  faces  to  the  light  and 
left  are  red  and  blue  respectively,  Jambhaia  sits  in  the  Vajraparyahka 
attitude,  and  embraces  his  Prajfia  Vasudhara  ot  his  own  creation  with 

1.  Bhattasali :  IBBS,  p.  34,  PI.  XI. 

2.  Sadhana  No.  287  in  the  Sadhanamala,  p.  5b4 


EMANATIONS  OF  RATN^SAMBHAVA  239 

the  two  principal  hands.  In  the  two  remaining  right  hands  he  carries 
the  red  Vajra  and  the  sword,  and  in  the  two  remaining  left  hands  he 
holds  the  emerald  and  ihc  lotus.  In  all  other  respects  he  is  identical 
with  the  forms  described  previously  *. 

Images  of  Jambhala  arc  found  in  Tibet-  and  China  ;.  Fig,  179 
illustrates  a  Nepalese  drawing  ol  the  deity  in  yab^yum.  w^x"' 

2.    UCCHUSMA  JAMBHALA 

Asana — Pratyahdhu  Appearance — Terrible 

Yahana — Kuvera 

This  Ucchusma  Jambhala  is  identical  in  form  with  the  one  already 
discussed  under  the  emanation  of  Aksobhya.  |  Here  also  Ucchusma 
stands  in  the  Pratyahdha  attitude  with  his  left  leg  stretched  forward 
on  the  forehead  of  Kuvera  \\  hile  the  right  tramples  upon  his  two  legs. 
He  is  terrible  to  behold,  with  protruding  belly,  bare  fangs  and  the 
snakes  for  ornaments.  He  holJ.s  the  Kapala  full  of  blood  against  his 
chest  in  the  right  hand  and  looks  eagerly  at  it  with  three  eyes  The  left 
hand  as  usual  holds  the  mon^oos^e. 

Ucchusma  Jambhala  is  rareh  represented  and  his  images  are  not 
known  except  the  one  at  barnaihjalready  described  under  the  emana- 
tions of  Aksobhya.  J  This  unique  image  shows  all  the  characteristic 
features  of  the  god  as  obtained  trom  the  Sadhanas.  The  tigure  shows 
his  consort  Vasudhara  in  the  left,  but  the  effigy  of  neither  Aksobhya  nor 
Ratnasambhav7a  can  be  seen  on  his  head. I  It  is  Amitabha  who  is  there. 
Nevertheless,  this  is  the  onh  h^ure  known  to  students  of  iconography, 
as  representing  Ucchusma  Jambhala. 

^Jambhala  in  his  fierce  form  ol    Ucchusma  or  Dimbha  is  not   known 
either  in  Tibet  or  in  China,  | 

11,    GODDESSES 

Several  Buddhist  goddesses*  emanate  (rom  the  Dhyani  Buddha  Ratna- 
sambhava  with  the  yellow  coloui  and  the  Varada  mudra  as  his  recog* 
nition  symbol.  He  preside*-  over  the  Ratnakula  or  the  collection  of 
deities  with  the  jewel  at>  their  family  symbol,  and  the  yellow  colour  as 
their  family  colour.  ALL  deities  which  are  not  specifically  mentioned 
as  emanations  of  a  particular  Dh^  ani  Buddha  can  be_  assigned  to,  the 
Dhyani  Buddha  Ratnasanibhava,  provi3e3 TKat  they  have  yellow  colour. 
On  this  principle  the  undernotcd  deities  are  brought  under  Ratnasam- 
bhava,  and  described  one  after  another. 

1.  Sadhalia  No.  297  in  the  Sadhan^mala/p.  581 

2.  Getty  :  GNB,  p.  159 

3.  Clark  :  TLP,  II,  pp^203  ,  (six-armed),  p.  310 


240  BUDDHIST  ICONOGRAPHY 

C         3.    VAJRATARA^ 

^^cx   ,  ,     .  . 

Colour — Golden  Yellow  Faces — Four 

Arms— Eight 

According  to  a  definite  statement  l  contained  in  the  Vajratara 
Mandala  of  the  Nispannayogavali,  the  Dhyani  Buddha  Ratnasambhava 
is  the  spiritual  sire  of  Vajratara.  She  is  four-faced  and  eight^armed 
and  her  description  is  as  under  : 

"Bhagavati  Vajratara  suvarnavarna  .  hemabha'Subhra-nila^lohitamu* 
la^savya-pascimottra-caturvaktra  astabhuja  savyair-vajram  pasam  saram 
sankham  ca  vibhrati  vamaih  pitotpalam  capam  ankusam  tarjanlrh  ca." 

NSP,  p.  38 

"Goddess  Vajratara  is  of  golden  yellow  colour..  She  is  four- faced. 
The  principal  face  is  golden  in  colour,  the  right  is  white,  the  one  behind 
is  blue  and  the  left  red.  She  has  eight  arms.  In  her  four  right  hands  she 
shows  the  Vajra,  the  noose,  the  arrow  and  the  conch.  In  the  four  left 
she  has  the  yellow  night  lotus,  the  bow,  the  goad,  and  the  raised 
Tarjani." 

Vajratara  is  a  popular  deity  in  Buddhism  and  her  images  are  found 
almost  everywhere  in  India.  She  is  popular  also  in  Nepal.  In  the 
Chinese  collection  of  statuettes  at  Peiping  an  image  of  Vajratara  is 
found  under  the  title  of  Astabhuja  Vajratara  2. 

Here,  at  least  one  very  peculiar  image  of  Vajratara  may  be  noted.  It 
is  in   the   Indian    Museum,  Calcutta.     The  Indian  Museum   bronze  of 
Vajratara   is   in  the  form  of  a  lotus,  and  represents  the  complete  Man* 
dala  with  all  the  attendant  deities  '•*.     It   is  so  constructed  that  it  can   be 
opened   and   closed   at  will.     The  petals  are  eight  in  number,  and   each 
bears  the  image  of  an  attendant  deity.    The  Dhyana  describing  her  form 
in  the  Sadhanamala  and  explaining  this  particular  image  is  as  under  : 
Matrmandalamadhyastham  Taradevim  vibhavayet     I 
Astabhujam  caturvaktrarii   sarvalankarabhusitarh     II 
Kanakavarnanibham    bhavyam   kumarilaksanojjvalam     I 
Pancabuddhamukutim  vajrasuryabhisekajam     II 
Navayauvanalavanyarh   calatkanakakundalam     I 
Visvapadmasamasinarh      raktaprabhavibhusitam     II 
Va jra<-pasa~tatha-sahkha'Saccharody atadak sinam  I 
Vajrahkusotpaladhanustarjanl'vamadharimih    I 
Vajraparyhkayogena  sadhayet  bhuvanatrayam     II 

Sadhanamala,  p.  179 

1.  NSP  :  p.  3S  Vajratarayah  kulelo*Ratne^ah 

2.  Clark  :  TLP,  II,  p.  210 

3.  See  also  Bhattasali :  IBBS,  pp.  45f.  pi.  XV,  XVI,  XVII. 


EMANATIONS  OF  RATNASAMBHAVA  241 

"The  worshipper  should  conceive  himself  as  Vajratara,  who  is  in  the 
midst  of  the  circle  of  the  Eight  Mothers,  is  eight-armed,  four-faced, 
and  decked  in  all  ornaments.  Her  complexion  is  like  the  colour 
of  gold,  and  she  is  graceful  and  resplendent  with  the  auspicious 
marks  of  a  virgin  ;  she  bears  the  images  of  the  five  Dhyani  Buddhas  on 
her  crown,  and  is  born  of  the  water  of  consecration  of  the  Vajra  and 
the  sun  ;  she  is  effulgent  in  her  blooming  youth,  has  swaying  ear- 
rings, sits  on  the  double  lotus,  and  radiates  red-hued  light  ;  she  carries 
in  her  right  hands  the  Vajra,  the  noose,  the  conch  and  the  swift  arrow, 
and  in  the  left  the  Vajrankusa,  the  Utpala,  the  bow  and  the  Tarjanl. 
Thus  conceiving  her  as  sitting  in  the  Vajra paryahka  attitude  (  the  wor- 
shipper) may  conquer  the  three  worlds-/' 

The  Sadhana  further  describes  the  deities  constituting  the  Mandala. 
In  the  four  cardinal  points  there  should  be  four  goddesses  on  the  four 
petals  of  the  lotus  on  which  Vajratara  sits, 

1.     Puspatara  (East) 

"Purvena  Puspataram  tu  sitavarnam  manoramam     I 
Omkaraksaranispannarh  puspadatnakarakularh     I 
Dvibhujam  ekavaktranca  sarvai?fikarabhusitarii°     II 

"On  the  east  is  Puspatara,  who  is  white  and  winsome,  is  born  of  the 
syllable  *Om',  carries  the  garland  of  flowers,  is  two-armed,  one-faced 
and  decked  in  all  ornaments. 

2,     Dhupatara  (South) 

"Daksme  Dhupatararh  tu  krsnavarnam  surupinim     1 
Dhupasakhakaravyagram  sarvalankarabhusitam''     II 

On  the  south  is  Dhupatara,  who  is  ot  blue  colour,  attractive, 
carries  the  Dhupa  (incenbe)  &tick  and  i&  decked  in  all  ornaments." 

3.     Dipatara  (West) 

"Pascime  Dipataranca  dlpa\astik&rakuli     I 
Pltavarnam  mahabhusarh  calatkanakakundalariT     II 

On  the  west  is  Dipatara,  who  carries  the  torch  in  her  hands,  is  of 
yellow  complexion,  profusely  ornamented  and  has  ear-rings  swaying. 

4.     Gandhatara  (North) 

''Uttare  Gandhataram  tu  gandhasahkhakarakulam     I 
Raktavarnanibham  devlm  bhavayet  garbhamandale"     II 

On  the  north  is  Gandhatara,  who  carries  in  her  hands  the  conch   of 
scents,  and  has   red  complexion 
31 


242  BUDDHIST  ICONOGRAPHY 


i 


All  these  (goddesses)  should  be  situated  in  the  inner  circle/' 

The  Sadhana  further  says  that  the  following  Guardians  of  the  Gates 
should  also  be  meditated  upon  as  around  the  principal  goddess,  but 
apparently  not  in  the  same  circle  with  the  four  described  above. 

5.     VajrankusI  (East) 

"Purvadvare  Vajrankusim  ekavaktram  dvibhujam  vajrahkusotpalaha- 
stam  vikrtavadanarh  krsnavarnam". 

"On  the  eastern  gate  there  is  Vajrankusi  who  is  one-faced  and 
two-armed.  She  carries  in  her  two  hands  the  goad  marked  with  a 
Vajra  and  the  night  lotus.  She  has  a  distorted  face  and  is  blue  in 
colour/' 

6.    Vajrapasi  (South) 

"Daksinadvare  Vajrapasim  pitavarnam  vikrtananam  ekavaktram  dvi- 
bhujam vajrapasahastam''. 

uOn  the  southern  gate  there  is  Vajrapasi  of  yellow  colour.  She 
has  one  distorted  face.  She  carries  in  her  two  hands  the  noose  marked 
with  a  Vajra". 

7.    Vajrasphotl(West) 

"Pascimadvare  Vajrasphotim  raktavarnam  ekavaktram  dvibhujam 
vikrtavadanam  vajrasphotahastarh". 

"On  the  western  gate  there  is  Vajrasphotl  of  red  colour.  She  has 
one  distorted  face.  In  her  two  hands  she  carries  the  chain  marked  with 
a  Vajra". 

8.  Vajraghanta  (North) 

"Uttaradvare  Vajraghantarh  svetavarnam  ekavaktram  dvibhujam  vik- 
rtavadanam vajraghantahastam''. 

"On  the  northern  gate  there  is  Vajraghanta  of  white  colour.  She  has 
one  distorted  face.  In  her  two  hands  she  carries  the  bell  marked  with 
a  Vajra". 

9.  Usmsavijaya  (Above) 
Goddess  Usmsavijaya  occupies  the  upper  regions* 

10.    Sumbha  (Below) 
Goddess  Sumbha  occupies  the  lower  reigons. 

All  these  goddesses  stand  on  the  orb  of  the  sun  in  the  Alldha  attitu- 
de with  the  right  leg  stretched  forward.  They  are  radiant  like  the  Sun- 
god  and  are  surrounded  with  a  fiery  halo.  They  are  decked  in  orna- 
ments of  snakes. 


EMANATIONS  OF  RATNASAMBHAVA  243 

These  goddesses  originate  from  the  ten  different  letters  of  the 
mantra  of  Vajratara,  which  is  "Om  Tare  Tuttare  Ture  Svaha",  consisting 
of  ten  syllables.  Each  syllable  brings  forth  a  goddess,  and  these 
goddesses  are  said  to  be  the  embodiments  of  the  ten  Paramitas  of  the 
Mahayana  School. 

The  following  are  some  of  the  instances  in  which  the  mantra  of 
Vajratara  might  be  applied  with  success.  Let  a  knot  be  tied  at  the  end 
of  a  cloth  over  which  the  mantra  has  been  recited  seven  times,  and  its 
wearer  can  go  even  to  the  most  inaccessible  regions  of  the  Vindhya 
mountains  without  being  molested.  Tigers,  thieves,  crocodiles,  lions, 
snakes,  elephants,  buffaloes,  bears,  bulls  and  the  like  will  flee  or  even 
be  destroyed,  at  the  mere  recital  of  the  name  of  the  goddess.  If  one 
hundred  and  eight  lotuses  are  offered  into  the  fire  with  this  mantra,  it 
will  be  enough  to  subdue  any  woman  born  of  man.  The  feather  of  a 
crow  over  which  this  mantra  has  been  recited  thirty-two  times,  if  kept 
concealed  within  the  house  of  an  enemy,  will  destroy  it  mysteriously  in 
the  course  of  a  week.  There  is  no  need  to  multiply  instances.  It  is 
enough  to  say  that  Vajratara  is  sure  to  bring  success  to  her  worshipper 
in  anything  he  may  undertake,  and  that  is  the  reason  why  she  is  so 
popular  among  the  Vajrayanists, 

Fig.  180  illustrates  the  Indian  Museum  image  of  Vajratara  enclosed 
within  a  lotus,  surrounded  by  all  the  ten  deities  of  the  Vajratara  Man- 
dala. Fig,  181  is  the  Orissa  image  of  Vajratara  illustrated  in  N.N.  Vasu's 
Mayurbhanj  Archaeological  Survey.  Fig.  182  is  the  image  of  Vajratara 
discovered  at  the  Sarasvatisthan  close  to  the  Svayambhu  Temple  in 
Nepal. 

Fig.  183  illustrates  the  Peiping  statuette  of  Puspataia,  one  of  the 
attendants  of  Vajratara. 

4.     MAHAPRATISARA 

Varieties — 1.    Three-Faced,  Ten-Armed 
2.     Four-Faced,  Eight-Armed 

Mahapratisara  !  is  the  principal  goddess  in  the  Pancaraksa  group, 
and  her  worship  is  widely  prevalent  amongst  the  Tantric  Buddhists. 
She  is  represented  either  singly  or  in  a  Mandala  in  the  company  of  four 
other  Pancaraksa  deities.  She  is  generally  yellow  when  worshipped 
independently,  and  white  when  worshipped  in  the  Mandala  of  the  five 
goddesses.  She  may  be  represented  with  four  faces  and  eight  arms, 
or  with  three  faces  and  ten  arms,  in  accordance  with  the  Sadhanas,  but 
in  actual  representations  she  may  have  three  faces  and  eight  arms.  The 

1.    See  also  Bhtttasali :  IBBS,  p.  61  and  PL  XXIV 


244  BUDDHIST  ICONOGRAPHY 

form  with  three  faces  and  eight  arms,  is  said  to  bear  the  image  of 
Ratnasambhava  on  the  crown,  and  the  other  yellow  form  may  also  be 
assigned  to  this  Dhyani  Buddha.  The  Sadhana  describes  the  former  in 
the  following  terms  : 

"Mahapratisara  pita  tnmukhi  pratimukham  trinayana  dasabhuja 
krsnasitauaksinetaravadana  daksmapancabhujesu  yathakramam  khadga- 
vajra'bana'varada'hrdayasayihasta&thacchatiani  rath  a  vamapancabhujesu 
capa-dhvaja-ratnacchata-parasu-sankhah  Ratnasambhavamukuti  krsna- 
kancukaraktottariya  ca  ardhaparyanka-lalitaksepa  divyabharanavastra- 
bhusita  ceti."  Sadhanamala,  p.  401-402. 

"Mahapratisara  has  yellow  complexion,  three  faces,  each  with 
three  eyes,  and  ten  arms  ;  her  right  and  left  faces  are  of  blue  and 
white  colour  respectively.  She  carries  in  her  five  light  hands  the  sword 
the  Vajra,  the  arrow,  the  Varada  mudra  and  the  parasol  held  against 
her  chest,  and  her  five  left  hands  similarly  hold  the  bow,  the  banner, 
the  jewel,  the  Parasu  and  the  conch.  She  bears  the  image  of  Ratna- 
sambhava on  the  crown,  has  a  blue  jacket  and  a  red  scarf,  sits  on  the 
Ardhaparyahka  in  the  Lalita  attitude,  and  wears  celestial  ornaments  and 
garments' '. 

The  form  with  four  faces  and  eight  arms  is  described  under  the  five 
Raksa  deities.  But  there  is  another  form  which  is  worshipped  indepen- 
dently, and  which  is  almost  identical  with  the  preceeding  one,  except 
that  here  she  is  endowed  with  four  faces  and  eight  arms.  The  princi- 
pal face  is  yellow,  the  right  white,  the  left  red,  and  the  face  behind  blue. 
She  carries  in  her  four  right  hands  the  sword,  the  Cakra,  the  Trisula 
and  the  arrow,  and  in  the  four  left  the  Parasu,  the  bow,  the  noose  and 
the  Vajra. 

Two  photographs  (Figs.  184,  185)  represent  this  form  of  the  goddess, 
and  these  tally  with  the  Sadhana  in  all  other  respects  except  that  they 
have  only  three  faces  instead  of  four. 

The  goddess  is  popular  in  Tibet  l  and  China  -. 

5.    VASUDHARA 

Colour — Yellow  Face — One 

Arms — Two  Symbol— Ears  of  Corn 

\  Vasudhara  is  the  consort  of  Jambhala  and  bears  the  image  of  either 
Aksobhya  or  Ratnasambhava  on  her  crown.  Several  Sadhanas  in 
the  Sadhanamala  describe  her  form  which  is  invariably  two-armed.  As 

1,  Gordon  :  ITL,  p.  76 

2.  Clark  :  TLP,  II,  pp.  289  (two-armed) 


EMANATIONS  OF  RATNASAMBHAVA  245 

none  of  the  Sadhanas  mentions  the  Asana,  she  may  be  represented  in 
any  attitude,  standing  or  sitting,  V"£he  is  richl  y  decked  in  ornaments  and 
is  invariably  accompanied  by  her  attendants.  Her  complexion  is  always 
yellow,  and  she  carries  in  her  left  hand  the  ears  of  corn  with  the  vessel 
that  showers  gems,  while  the  right  hand  exhibits  the  Varada  mudra. 
The  short  Sadhana  describing  her  is  as  follows  : 

'Tita^Vam-karaparinatarh  dvibhujaikamukhirh  pitam  navayauvana^ 
bharanavastravibhusitarh  dhanyamanjarmanaratnavarsamanaghata\'ama* 
hastarh  daksinena  varadam  anekasakhijana'panvrtarh  visvapadmacandia- 
sanastharh  Ratnasambhavamukutimm...nispadya''. 

Sadhanamala,  p.  422*3. 

"The  worshipper  should  conceive  himself  as  (Vasudbara)  who  ori' 
ginates  from  the  yellow  germ  syllable  4VanY.  She  is  two^armed,  one- 
faced,  of  yellow  complexion,  is  in  the  prime  ot  >outh  and  is  decked  in 
all  sorts  of  ornaments  and  garments.  She  carries  in  her  left  hand  the 
ears  of  corn  on  a  vessel  showering  gems,  while  the  right  exhibits  the 
Varada  mudra.  J  She  is  surrounded  by  many  lady  friends,  rests  on  the 
moon  over  the  double  lotus,  and  bears  the  image  ot  Ratnasambhava  on 
the  crown../'. 

Images  of  Vasudhara  are  not  generally  met  with  in  sculpture* 
She  accompanies  Ucchusma  in  the  unique  Sarnath  image  already  referr- 
ed to.  The  other  image  from  Sarnath  is  mutilated  beyond  recognition. 
In  both  cases,  however,  she  is  represented  standing.)  Fig.  186  illustrates 
a  Nepalese  drawing  of  the  goddess. 

|  Vasudhara  is  sometimes  represented  as  one^ faced  and  six-armed,  and 
as  sitting  in  the  Lalita  attitude.  In  the  three  right  hands  she  exhibits 
the  Namaskara  mudra,  the  Varada  mudra  and  the  ears  of  corn. 
The  first  left  hand  has  the  book,  the  second  the  ears  of  corn,  and  the 
third  on  the  lap  carries  the  vessel  containing  jewels.  Her  hair  rises 
upwards  in  the  shape  of  a  flame,  she  is  beautifully  decked  in  ornaments 
and  her  expression  is  truly  peaceful.  |  Fig.  187  represents  this  variety 
of  the  goddess  and  is  a  fine  specimen  of  Newan  art.  Fig.  188  illustrates 
a  beautiful  bronze  image  of  Vasudhara  in  the  Baroda  museum. 
I  Images  of  Vasudhara  are  found  in  Tibet  *  but  not  in  China.  \ 

6.    APARAjITA 

Colour — Yellow 

Identification  Mark — Trampling  upon  Ganesa 
Mudra — Capetadana  (Slapping) 

The  name  of  Aparajita  occurs  in  the  Dhyana  for  Astabhuja  Kuru- 
kulla  already  quoted  and  translated.      There  she  is  said   to   bear  the 

Gordon  :  ITL,  p.  72  ;  Getty  :  GNB,  p.  131. 


246  BUDDHIST  ICONOGRAPHY 

image  of  Ratnasambhava  on  her  crown,  and  to  carry  in  her  four  hands 
the  staff,  the  goad,  the  bell  and  the  noose, 

\  Aparajita  is  an  interesting  Buddhist  goddess.  She  tramples  upon 
Ganesa,  and  one  of  her  hands  is  raised  in  the  attitude  of  dealing  a  slap, 
while  her  parasol,  according  to  the  Sadhana,  is  held  by  important 
Hindu  gods.  A  very  short  Sadhana  is  devoted  to  her  worship,  and 
the  Dhyana  contained  in  the  Sadhana  describes  the  form  of  Aparajita 
thus  : 

"Aparajita  pita  dvibhujaikamukhl  nanaratnopasobhita  Ganapatisa- 
makranta  capetadanabhinayadaksinakara,  grhltapasatarjanikahfdayasthi- 
tavamabhuja  atibhayahkarakaralaraudramukhl  asesamaranirdalani 

Brahmadidustaraudradevataparikarocchritacchatra  ceti. " 

Sadhanamala,  p.  403. 

"Aparajita  is  yellow  in  complexion,  two^armed,  one-faced,  is  decked 
in  various  gems,  and  tramples  upon  Ganesa.  Her  right  hand  is  raised, 
displaying  the  act  of  dealing  a  slap,  while  the  left  carries  the  noose 
round  the  raised  index  finger  against  her  chest.  Her  face  is  awful, 
terrible  and  ferocious.  She  is  the  destroyer  of  all  wicked  beings,  and  her 
parasol  is  raised  over  her  head  by  the  host  of  wicked  and  ferocious  gods, 
Brahma  and  others". 

In  the  Sadhana  one  epithet  of  the  goddess  deserves  special  notice. 
It  is  Qanapatisamakianid  "Who  tramples  upon  Ganapati".  The 
word  'akranta'  is  derived  from  the  original  root  'kram'  to  'trample'.  On 
the  strength  of  this  epithet  of  the  goddess  the  Nalanda  fragment  (Fig. 
189)  showing  only  the  lower  half  of  the  full  image  is  identified  with 
that  of  Aparajita.  In  it,  the  figure  to  the  right  of  the  principal  goddess 
appeals  to  be  Indra  and  the  rod  held  bj  him  seems  to  be  the  handle  of 
the  parasol  required  to  be  held  over  her  head  by  the  gods  beginning 
with  Brahma.  The  upper  part  of  the  Nalanda  image  is  unfortunately 
lpst>  Had  it  been  complete,  it  would  have  been  possible  to  find  the 
Capetadana  mudra  in  the  right  hand  of  the  goddess  and  the  noose  with 
the  raised  index  finger  in  {he  left,  and  a  parasol  over  her  head  in  conti- 
nuation of  the  broken  handle. 

This  identification  was  confirmed  when  subsequently  the  Indian 
Museum  image  (Fig.  193)  was  discovered.  This  image  is  only  slightly 
mutilated  but  is  complete,  and  resembles  the  Nalanda  fragment  in  the 
lower  portion,  while  the  whole  image  follows  with  precision,  the  direc- 
tions given  in  the  Sadhana  quoted  above.  This  new  discovery  leaves 
no  room  for  doubt  regarding  the  identification. 

Aparajita  is  known  in  China  *.   \ 
1,    Clark  :  TLP,  II,  pp.  208,  290. 


EMANATIONS  OF  RATNASAMBHAVA  247 

7.    VAJRAYOGINf 
(I)    HEADLESS  FORM 

Colour — Yellow  Asana — Alldha 

Companions — Two       Arms — Two 
Symbols — Kartri  and  severed  head 

Vajrayogini  is  another  of  the  important  and  popular  goddesses  who 
does  not  seem  to  bear  the  image  of  any  of  the  Dhyani  Buddhas  on  the 
crown.  Four  Sadhanas  describe  her  forms,  which  are  three  in  number 
and  conform  to  two  distinct  types,  very  different  form  each  other.  In 
one  case,  she  has  no  head  on  her  shoulder,  but  carries  it  in  her  hand, 
and  in  another,  she  has  her  head  intact.  The  former  form  is  identical 
in  appearance  with  the  Hindu  goddess  Cchinnamasta  belonging  to  the 
group  of  ten  Mahavidyas.  It  is  therefore  possible  to  conclude  that 
this  Buddhist  goddess  was  borrowed  and  incorporated  wholly  into 
their  pantheon  by  the  Hindus.  She  is  always  accompanied  by  the  two 
Yogims  on  either  side  of  her,  who  are  called  Vajravairocani  and  Vajra- 
varnanl.  The  Sadhana  describing  her  headless  form  is  as  follows  : 

"Bhartarikarh  Vajrayogmlrh...puavarnam  svayameva  svakartri4carti- 
ta-svamastaka-vamahastasthitam  daksinahastakartrisahitam,  urdhvavis^ 
trtavamabahum,  adhonamitadaksinabahum,  vasahsunyam,  prasantadak' 
sinapadam  sahkucitavamapadam,  bhavayet,  Kavandhannihsrtyasrkdha"' 
ra  svamukhe  pravisati,  apare  ubhayoh  parsvayogmyor-mukhe  pravisati 
iti  bhavayet. 

Vamadaksinaparsvayoh  syamavarna-Vajravarnanl-pitavarna^Vajra- 
vairocanyau  vamadaksinahastakartrisahite,  daksinavamahastakarppara- 
sahite,  prasaritavamapadaprasaritadaksinapade  sankucitetarapade  muk* 
takesyau  bhavayet  Ubhayoh  parsvayoh,  ubhayor-yoginyor-madhye 
antarikse  atibhayakulam  smasanam  bhavayet." 

Sadhanamala,  p.  452-*453. 

'The  worshipper  should  conceive  himself  as  Bhattarika  Vajrayogini 
...of  yellow  colour,  who  carries  in  her  left  hand  her  own  head  severed 
by  herself  with  her  own  Kartri  held  in  her  right  hand.  Her  left  hand  is 
raised  upwards  while  the  right  is  placed  below.  She  is  nude,  and  her 
right  leg  is  stretched  while  the  left  is  bent  down.  He  (the  worshipper) 
should  also  meditate  on  the  streams  of  blood  issuing  from  the  severed 
body  as  falling  into  the  mouth  of  the  severed  head  and  into  the  mouths 
of  the  two  Yogims  on  either  side  of  her. 

He  (the  worshipper)  should  also,  conceive  the  two  Yoginis  to  the 
left  and  right  (of  the  principal  goddess),  the  green  Vajravarnam  and  the 
yellow  Vajravairocani,  both  of  whom  carry  the  Kartri  in  their  left  and 


248  BUDDHIST  ICONOGRAPHY 

right  hands  respectively,  and  the  cup  made  of  a  skull  in  the  right  and 
left  hands  respectively.  Their  left  and  right  legs  respectively  are  stret- 
ched forward,  while  the  other  legs  are  bent,  and  they  have  dishevelled 
hair.  On  all  sides,  between  the  two  Yoginls  and  in  the  firmament  there 
is  the  awful  cremation  ground'*. 

(II)    RED  FORM 

Colour — Red  Vahana—  Corpse 

Symbols — Vajra  and   Kapala         Asana — Alldha 

The  Red  form  is  no  less  terrible  than  the  one  described  above. 
She  is  surrounded  on  all  sides  by  the  terrible  burning  grounds. 
She  stands  in  the  Alidha  attitude,  on  the  orb  of  the  sun,  is  in  the  prime 
of  youth,  and  has  red  complexion.  She  rides  the  corpse,  is  nude,  has 
three  eyes,  red  and  round,  contorted  brows,  protruding  belly  and 
tongue,  and  is  endowed  with  the  six  auspicious  symbols.  She  carries 
the  Kapala  in  the  left  hand  and  the  Vajra  in  the  right,  while  the  Khat- 
vanga  hangs  from  her  left  shoulder.  This  form  of  Vajrayogini  is 
similar  in  many  respects  to  the  forms  of  both  Nairatma  and  Vajra* 
varahi,  so  much  so,  indeed,  that  a  confusion  is  likely  to  arise  in  the 
identification  of  their  images.  If  an  image  shows  the  dancing  attitude 
in  Ardhaparyanka,  it  may  be  identified  as  Nairatma  or  Vajravarahi, 
but  if  it  shows  the  Alidha  attitude,  it  may  have  to  be  identified  as  Vajra* 
yogtni.  The  excrescence  near  the  right  ear  arid  the  corpse  lying  on  its 
chest  is  peculiar  only  to  Vajravarahl  ;  while  the  absence  of  the  excres- 
cence and  the  corpse  lying  on  its  back  point  to  Nairatma.  The  Alidha 
attitude  is  peculiar  only  to  Vajrayogini. 

(Ill)    YELLOW  FORM 

Colour — Yellow  Arms — Two 

Symbols — Kartri  and  Kapala 

She  may  also  have  a  Yellow  form,  when  according  to  the 
Sadhana,  she  will  carry  the  Kartri  ard  the  Kapala,  but  in  other  respects 
will  be  identical  with  the  one  just  described  Another  Sadhana  adds 
the  information  that  the  Kapala  should  be  filled  with  the  blood  of  the 
Devas  (gods)  and  the  Asuras  (demons)  and  that  the  hand  carrying  the 
Kartri  may  show  the  Tarjani  also 

Vajrayogini  is  one  of  the  consorts  of  Heruka,  who  remains  with  her 
in  yab-yum,  and  their  union  is  the  subject  of  the  celebrated  Heruka* 
Tantra.  The  temple  of  Vajrayogini  at  Sanku  (Fig.  191)  in  Nepal  does 
not  contain  an  image  of  any  of  these  varieties  of  Vajrayogini.  It  con* 
tains  the  image  of  Ugrataia,  more  popularly  known  as  Mahaclna-Tara, 
which  is  believed  to  have  been  carried  over  there  by  Bengali  priests 


EMANATIONS  OF  RATNASAMBHAVA  249 

from  a  place  of  the  same  name  in  the  District  of  Dacca,  about  A.  D. 
1350,  when  the  Muhammadans  led  their  victorious  armies  over  Eastern 
Bengal* 

Images  of  Vajrayogim  are  found  in  Tibet  1. 

8.    PRASANNATARA 

Colour — Yellow  Faces — Eight 

Arms-  Sixteen 

Prasannatara  is  mentioned  twice  in  the  Sadhanamala,  once  as  a  com* 
panion  of  Astabhuja  Kurukulla  and  once  again  as  a  principal  deity  in 
the  Sadhana.  As  a  companion  of  Kurukulla  she  is  red,  but  her  indepen* 
dent  form  shows  the  vellow  colour.  Thus  in  the  absence  of  more  de- 
finite information,  she  has  to  be  assigned  to  the  family  of  the  Dhyani 
Buddha  Ratnasambhava  of  yellow  colour.  The  Sadhana  devoted  to  her 
independent  foim  gives  her  the  epithets  of  Amrtamukhi  and  Amrta- 
locana  and  there  is  no  doubt  that  except  for  the  face  on  the  top  all  her 
seven  faces  are  represented  as  having  charmingly  sweet  expression. 
But  she  is  not  benign  and  peaceful.  She  is  fearful  like  Vidyujjvalaka* 
rail,  a  form  of  Ekajata.  The  Dhyana  describes  her  form  m  the  follow- 
ing terms  : 

"Hemavarnarh     mahaghoram   Taradevirh    maharddhikam     I 
Trinetram  astavadanam     bhujasodasabhusitam     II 

Ordhvapingalakesam    sardrasatardhamundamalakrtaharam. 
Pratyalldhapadopetarii    jagattranarh    mahabalarii     I 
Vicitravastranepathyarh  hasantim  navayauvanam     II 

Pradhanamukharh  pitam  daksinam  dvitiyam  nilarii,  trtiyam  syamam 
caturtham  gaganasyamam,  vame  kundasannibhaih,  dvitiyam  raktam,  trti* 
yamgaganasyamam  urdhvasyam  dhumravarnabham  mahaghoram  vikato- 
tkatam  ;  daksma-karesu  khadga'Utpala-sara-vajra"ankusa-danda-kartri' 
abhayadharam  ;  vamabhujesu  sapasatarjanl-kapala'dhanuh-khatvahga' 
vajrapasa-Brahmasirah-ratnakalasadharam  ;  visvapadmacandrastham 
suryyaprabhavibhusitam  :  vamapadena  Indtarh,  daksinapadena  Upen^ 
dram,  padadvayamadhye  Rudram  Brahmanam  cakramya  sthitam,  sarva- 
varanavinasamm  bhavayet. 

Prasantiatara-Sadhanarh.51  Sadhanamala,  p.  241. 

"The  worshipper  should  conceive  himself  as  (Prasannatara)  who 
is  of  golden  complexion,  of  terrible  appearance,  bestows  prosperity, 
is  three*eyed,  eight-faced  and  sixteen-aimed.  Her  broun  hair  rises 
upwards  and  her  necklace  is  made  of  half-a-hundred  heads  wet  with 

1.    Gordon:  TLP,  p.  81. 

32 


250  BUDDHIST  ICONOGRAPHY 

blood.  She  emancipates  the  universe  and  is  terrible  to  behold.  She 
stands  in  the  Pratyalldha  attitude,  has  smiling  faces,  is  in  the  fulness  of 
youth  and  her  garments  are  of  variegated  colour.  Her  first  face  is 
yellow,  the  second  to  the  right  is  blue,  the  third  green,  and  the  fourth 
blue  like  the  sky  ;  the  face  to  the  left  is  white  like  the  Kunda  flower, 
the  second  red,  and  the  third  blue  like  the  sky  ;  the  face  on  the  top  is 
of  the  colour  of  smoke,  terrible  in  appearance,  distorted  and  disfigured. 
In  her  eight  right  hands  are  :  1 .  the  Khatvanga,  2.  the  Uptala,  3.  the 
arrow,  4.  the  Vajra,  5.  the  Ankusa,  6.  the  staff,  7.  the  Kartri 
and  8.  the  Abhaya  pose  ;  and  in  the  left  1.  the  noose  with  the 
Tarjam,  2.  the  Kapala,  3.  the  bow,  4.  the  Khatvanga,  5.  the 
Vajra,  6.  the  noose,  7.  the  head  of  Brahma,  and  8.  the  vessel  of 
gems.  She  stands  on  the  moon  over  the  double  lotus,  is  radiant  with 
the  glow  of  the  sun,  tramples  under  her  left  foot  Indra,  under  the  right 
Upendra,  and  presses  Rudra  and  Brahma  between  the  two,  and  destroys 
the  veils  of  ignorance". 

Fig.  192    illustrates  a  Nepalese  drawing  of  the  goddess  which  tallies 
with  the  Sadhana  in  major  details. 


CHAPTER  XI 

COLLECTIVE  DEITIES 

It  has  been  pointed  out  earlier  that  the  Buddhists,  in  the  medieval 
age  started  an  unrelenting  process  of  deification  by  turning  all  objects, 
cosmic  principles,  literature,  letters  of  the  alphabet,  the  directions  and 
even  the  desires  into  gods  and  goddesses,  with  forms,  colour,  poses  of 
sitting,  and  weapons.  In  this  manner  the  ten  directions,  eight  kinds 
of  head-dress,  the  different  kinds  of  protection,  the  dances,  musical 
instruments,  components  of  the  door,  four  kinds  of  light,  important 
animals,  and  various  other  things  were  all  deified  with  form,  colour  and 
weapons.  In  this  chapter  these  collective  deities  will  be  briefly 
described. 

I.    TEN  GODS  OF  DIRECTION 

The  process  of  deification  was  applied  in  Vajrayana  to  the  four 
cardinal  directions,  North,  South, JEast  and  West,  and  the  four  interme- 
diate corners,  such  as  Vayu,  Agni,  Isana  and  Nairrta.  With  the  top-Aid 
the  bottom  the  quarters  numbered  ten,  and  thus  the  Buddhist  Tantras 
added  ten  gods  of  the  quarters  to  the  already  numerous  gods  in  their  pan- 
theon.  The  deities  of  the  ten  quarters  are  not,  however,  the  monopoly  of 
the  Buddhists,  and  it  is  believed  that  the  Buddhists  were  indebted  to  the 
Hindus  for  the  deification  of  the  quarters.  Amongst  the  Hindus  the 
eight  Dikpalas  are  commonly  found  in  the  Puranas  and  Tantric  works. 
The  Dikpalas  are  supposed  to  guard  the  ten  quarters,  and  are  said  to  be 
the  presiding  deities  of  these  directions,  or  in  other  words,  they  are 
regarded  as  the  embodiments  of  these  quarters  in  the  form  of  deities. 

The  Buddhists  improved  upon  the  original  ideas  of  the  Hindus  and 
showed  in  an  artistic  style  their  origin  in  an  Assembly  of  the  Faithful 
where  the  Highest  Lord  sits  in  different  Samadhis  (meditations),  and 

^  (Hf   #+ 

the  rays  issuing  out  of  his  body  Condense  themselves  first  into  syllables 
which  give  rise  to  the  different  Guardians  of  the  Gates  This  process  of 
deification  is  described  in  the  first  chapter  of  the  Guhyasamaja  a  resume 
of  which  is  already  given  in  this  book  in  the  very  first  chapter. 

These  deities  of  the  ten  quarters  are  frequently  mentioned  in  the 
Sadhanas.  In  the  Mandates  of  the  Nispannayogavall  they  are  invariably 


252  BUDDHIST  ICONOGRAPHY 

present  and  their  places  are  accurately  stated.  They  are  always  collec- 
tively mentioned  in  the  Mandalas  or  Circles  of  deities  where  the  direc- 
tions play  an  important  part.  Their  chief  function  is  to  remove  all 
sorts  of  obstacles  for  the  protection  of  Dharma. 

The  ten  deities  of  the  quarters  are  described  differently  in  the 
different  Mandalas  in  the  Nispannayogavali,  and  they  are  sometimes 
represented  along  with  their  Saktis  often  in  close  embrace.  They  are 
often  violent  in  appearance,  and  although  it  is  not  possible  here  to  deal 
with  all  their  forms,  it  is  not  reasonable  to  omit  a  reference  to  them  in 
the  present  state  of  our  knowledge  of  the  Buddhist  pantheon.  The  ten 
deities  are,  therefore,  described  here  one  after  another  in  their  recog- 
nized order,  with  the  relevant  passages  from  the  Nispannayogavali  des- 
cribing their  forms 

1.     YAMANTAKA 

Colour — Blue  Arms — Six 

Faces — Three  Direction — East 

Yamantaka  presides  over  the  East  and  is  one  of  the  popular  deities 
of  the  Buddhist  pantheon  He  is  also  known  as  Yamari  who  is  often 
endowed  with  two  forms  known  as  Krsna- Yamari  and  Rakta- Yamari. 
Some  of  his  forms  and  Sadhanas  have  alredy  been  dealt  with  in  an 
earlier  chapter.  Independant  Tantras  are  also  ascribed  to  his  worship. 
As  a  guardian  of  the  Eastern  quarter  Yamantaka  is  described  in  the 
Manjuvajra  Mandala  of  the  Nispannayogavali,  along  with  his  nine  other 
colleagues.  He  is  described  there  as  : 

"Tatra  purvasyam  arayam  Yamantakahkrsnah  krsnasitaraktamukhah 
krsnavajramudgara-khadga-mani-kamaladhari".  NSP,  p.  1 

"On  the  Eastern  spoke  of  the  wheel  there  is  Yamantaka  of  blue 
colour.  His  three  faces  have  blue,  white  and  red  colour.  He  holds  in 
his  four  hands  the  hammer  marked  with  the  blue  Vajra,  the  sword, 
the  jewel  and  the  lotus." 

4 

Yamantaka  is  six-armed  like  all  other  Krodha  deities  of  the  quarters. 
All  the  Krodha  deities  including  Yamantaka  embrace  their  Saktis  with 
their  two  principal  hands. 

In  the  Vajrahufikara  Mandala  his  second  name  is  given  as  Vajra- 
danda.  His  images  are  found  in  China  l  as  also  in  Tibet  2. 

1.  Clark  ;  TLP,  II,  pp.  52,  73 

2,  Gordon  :  ITL,  p.  90  ;     Getty  :  GNB,  p.  164 


COLLECTIVE  DEITIES  253 

2.  PRAJNANTAKA 

Clour— White  Faces — Three 

Arms — Six  Direction—  South 

The  second  deity  in  the  series  is  Prajnantaka  who  presides  over  the 
Southern  direction.  He  is  described  in  the  same  Mandala  as  : 

"Daksinasyam  Prajnantakah  sitah  [ska]  krsnaraktamukho  Vajrahki- 
tasitadandasimanipadmadhari/'  NSP,  p.  2 

"In  the  South,  there  is  Prajnantaka,  who  is  white  in  colour  having 
three  faces  of  white>  blue  and  red  colour*  In  his  four  handb  he  shows 
the  white  staff  marked  with  a  Vajra,  the  sword,  the  jewel  and  the 
lotus." 

The  two  other  hands  hold  the  Sakti.  In  the  Vajrahunkara  Mandala 
his  second  name  is  given  as  Vajrakundali.  His  images  are  found  in 
China  '. 

3.  PADMANTAKA 
Colour — Red  Faces — Three 
Arms — Six                   Direction — West 

The  third  Lord  of  the  quarters  is  Padmantaka  who  is  described  in  the 
Nispannayogavali  with  the  following  words  : 

"Pascimayam  Padmantako  raktah  raktamlasitasyo  raktapadmasima- 
nicakradhari"  NSP,  p.  2 

"Padmantaka  is  in  the  West  and  is  red  in  colour  with  three  faces  of 
red,  blue  and  white  colour.  He  holds  the  red  lotus,  the  sword,  the 
jewel  and  the  discus." 

The  two  principal  hands  hold  the  Sakti  in  embrace.  In  the  Vajra- 
huhkara  Mandala  he  is  known  by  the  name  of  Vajrosmsa.  His  images 
are  found  in  China  y. 

4.    VIGHNANTAKA 

Colour — Green  Faces  —Three 

Arms — Six  Direction — North 

The  fourth  deity  in  the  series  is  Vighnantaka  who  is  already  well- 
known  and  an  account  of  whom  appears  in  an  earliar  chapter  of  this 
book.  Vighnantaka  as  the  lord  of  the  North  appears  in  the  Nispannayo* 
gavall  as  follows  : 

"Uttarasyam  Vighnantako  haritah  haritasitaraktamukhah  karSlavaj* 
rasimanipadmadharl."  NSP,  p.  2 

L    Clark  :  TLP,  II,  p,  59 

2.    For  his  statuette  in  China  as  Vajro$ni?a,  see  Clark  ;  TLP,  II,  pp.  65*  49* 


254  BUDDHIST  ICONOGRAPHY 

"Vighnantaka  is  in  the  North  and  is  green  in  colour.  His  three 
faces  show  green,  white  and  red  colour.  He  holds  the  fearful  Vajra, 
the  sword,  the  jewel  and  the  lotus." 

The  principal  hands  embrace  the  Sakti  as  usual.  In  the  Vajrahuhka- 
ra  Mandala  his  second  name  is  Analarka.  His  images  are  found  in 
China  l. 

5.    TAKKIRAJA 

Colour — Blue  Faces — Three 

Arms — Six  Direction — Agni 

Takkiraja  as  the  guardian  of  the  Agni  corner  is  very  frequently 
referred  to  in  the  NispannayogavaK.  He  is  described  as  : 

"Agneyyam  Takkirajo  nilah  mlasitaraktasyo  mladandakhadgaman' 
yabjadhan."  NSP,  p.  2 

'Takkiraja  is  in  the  Agni  corner  and  is  blue  in  colour.  His  three 
faces  are  blue,  white  and  red.  He  holds  the  blue  staff,  the  sword,  the 
jewel  and  the  lotus/' 

The  two  principal  hands  hold  the  Sakti  as  usual. 

In  the  Vajrahuhkara  Mandala  his  name  is  Vajrayaksa.  In  the  Dhar~ 
madhatuvaglsvara  Mandala  he  is  Vajrajvalanalarka.  His  images  are 
found  in  China  2. 

6.    NfLADANDA. 

Colour — Blue  Faces — Three 

Arms — Six  Direction — Nairrta 

The  sixth  deity  in  the  series  is  Niladanda  who  is  the  presiding  deity 
of  the  Nairrta  corner.  His  form  is  described  as  : 

"Nairrtyam  Niladandah  krsnah  krsnasitaraktasyo  niladandakhadga* 
mariyabja'dhan."  NSP,  p.  2. 

"In  the  Nairrta  corner  appears  Niladanda  who  is  of  blue  colour 

having  three  faces   of  blue,  white  and  red  colour.    He  holds  the  blue 
staff,  the  sword,  the  jewel  and  the  lotus." 

The  two  principal  hands  hold  the  Sakti. 

In  the  Vajrahuhkara  Mandala  his  name  is  Vajrakala.  But  in  the 
Dharmadhatuvaglsvara  Mandala  his  name  is  Herukavajra.  His  images 
are  found  in  China  *. 

L    Clark  :  TLP,  II,  pp.  217,311 

2.  Clark  :  TLP,  II,  p.  303  (as  Takkiraja)  pp.  66,  145,  269  (as  Vajrayaksa). 

3.  Clark  :  TLP,  II,  p.  49  (as  Nifadaijda);  and  p.  75  (as  Vajrakala), 


COLLECTIVE  DEITIES  255 

7.    MAHABALA 

Colour — Blue  Faces — Three 

Arms — Six  Direction — Vayu 

The  seventh  deity  in  the  series  is  Mahabala,  who  is  the  presiding 
deity  of  the  intermediate  corner  of  Vayu.  His  form  is  described  in  the 
Nispannayogavall  in  the  following  words  : 


"Vayavyam  Mahabalah  krsnah  krsnasitaraktamukhah  trisulasimanik' 
amaladhari."  NSP,  p.  2* 

"In  the  Vayu  corner  appears  Mahabala  of  blue  colour  with  three 
faces  of  blue,  white  and  red  colour.  He  holds  the  Trisula,  the  sword, 
the  jewel  and  the  lotus. " 

As  usual,  with  the  principal  hands  he  holds  the  Sakti. 

In  the  Vajrahuhkara  Mandala  he  is  given  the  name  of  Mahakala.  But 
in  the  Dharmadhatuvagisvara  Mandala  he  is  known  as  Paramasva.  His 
images  are  found  in  China  1. 

8.    ACALA 

Colour — Blue  Faces — Three 

Arms — Six  Direction — Isana 

Acala  is  the  eighth  deity  in  the  series,  and  is  regarded  as  the  presid- 
ing deity  of  the  Isana  corner.  His  form  is  several  times  described  in 
the  Nispannayogavall.  It  is  probable  that  this  deity  is  the  same  as 
Acala  who  is  known  as  Candarosana  and  is  described  already  in  an 
earlier  chapter. 

The  description  of  his  form  is  given  below  : 

"Aisanyam  Acalo  mlakekarah  nilasitaraktasyah  khadgavajramanipa- 
dmadhari."  "  *  NSP,  p.  2 

"In  the  Isana  corner  there  is  Acala  with  blue  complexion.  His  three 
faces  are  blue,  white  and  red.  He  holds  the  sword,  the  Vajra,  the  jewel 
and  the  lotus. " 

In  the  two  principal  hands  he  holds  the  Sakti  in  embrace. 

In  the  Vajrahuhkara  Mandala  he  is  given  the  name  of  Vajrabhisana, 
but  in  the  Dharmadhatuvagisvara  Mandala  his  name  is  Trailokyavijaya. 
His  images  are  found  in  China  2. 

L    Clark  :  TLP,  II,  pp.  49,  217  (as  Mahabala)    p.  75  (as  Mahakalavajra) 
2.    Clark  :  TLP,  II,  p,  116  (as  Trailokyavijaya) 


256  BUDDHIST  ICONOGRAPHY 

9.     USNFSA 

Colour — Yellow  Faces — Three 

Arms — Six  Direction — Up 

The  ninth  deity  in  this  series  is  Usmsa  who  is  also  known  as  Usmsa- 
cakravarti,  and  presides  over  the  sky  above.  His  form  is  described  thus 
in  the  Nispannayogavali  : 

"Ordhve  Usmsacakarvarti  pitah  pltanilaraktasyah  pitacakrakhadga^ 
manipadmadhari."  NSP,  p.  2 

uln  the  upper  region  there  is  Usmsacakravarti  of  yellow  colour.  His 
three  faces  are  yellow,  blue  and  red.  He  holds  the  yellow  discus,  the 
sword,  the  jewel  and  the  lotus/' 

His  two  principal  hands  hold  the  Sakti  as  usual.  His  images  are 
found  in  China  ]. 

10.    SUMBHARAjA 
Colour— Blue  Faces— Three 

Arms — Six  Direction — Down 

The  tenth  deity  in  this  series,  is  Sumbharaja  who  is  the  embodiment 
of  the  Nether  regions.  His  form  is  described  in  the  Manjuvajramandala 
as  follows  : 

"Adhah  Sumbharajo  nibh  nilasitaraktasyo  vajrakhadgamanikamala" 
bhrt."  NSP,  p.  2 

"Below  is  Sumbharaja  who  is  blue  in  colour.  His  three  faces  are 
blue,  white  and  red.  He  holds  in  his  four  hands  the  Vajra,  the  sword, 
the  jewel  and  the  lotus." 

With  the  two  principal  hands  he  holds  the  Sakti  in  embrace. 

In  the  Vajrahuhkara  Mandala  he  is  known  by  the  name  of  Vajrapata- 
la.  He  is  not  represented  in  the  Chinese  collection. 

II.    SIX  GODDESSES  OF  DIRECTION 

Just  as  there  are  ten  gods  of  the  quarters  for  all  the  Mandalas  of 
principal  gods,  even  so  there  are  six  goddesses  presiding  over  the  six 
quarters,  with  different  names  and  different  weapons  in  their  hands. 
An  account  of  these  goddesses  is  not  only  interesting  but  also  very 
important  for  the  purpose  of  identifying  deities  of  the  Buddhist  panthe- 
on. Their  names  and  weapons  are  recorded  in  the  Mandala  of  Vajra- 
tara  in  the  Nispannayogavali  (p.  38)  as  also  in  the  Vajratarasadhanam 
(p*.  185)  in  the  Sadhanamala.  If  Puspa,  Dhupa,  Dipa  and  Gandha  are 
added,  the  number  will  be  ten  for  the  directions. 

~    1.     Clark :  TLP,  II,  p.  76 


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COLLECTIVE  DEITIES  297 

1.  VAJRANKUSI 

Colour— White  Face— One 

Arms— Two  Direction — East 

Symbol — Goad 

The  first  goddess  in  the  series  is  Vajrahkusi  who  is  the  presiding 
deity  of  the  Eastern  direction.  Her  form  is  as  follows  ; 

"Purvadvare  Vajrankusi  (sukla)  suklankusahkasav^akara". 

NSP,  p.  38. 

"On  the  Eastern  gate  is  Vajrankusi  white  in  colour  holding  in  her 
right  hand  the  white  Goad". 

The  left  hand  shows  like  the  rest  the  raised  index  firmer.  Her  ixrages 
are  found  in  China  * . 

2.  VAJRAPAsf 

Colour — Yellow  Face  —  One 

Arms — Two  Direction — South 

Symbol — Noose 

The  second  goddess  in  the  seiies  is  Vajrapasi  who  is  the  piesiding 
deity  of  the  Southern  quarter.  Her  form  is  as  follows  : 

"Daksine  Vajrapasi  pita  pasabhrt-savyapanipallava*'. 

NSP,  P.  38. 

'  'In  the  South  is  Vajrapasi,  yellow  in  colour  holding  in  the  right 
hand  the  Noose". 

She  shows  the  raised  index  linger  in  the  left  band.  Her  image  is 
found  in  China  J.  One  of  the  Chinese  statuettes  is  illustrated  in 
Fig.  193. 

3.    VAJRASPHOTA 
Colour — Red  Face — One 

Arms — Two  Direction — West 

Symbol — Chain 

The  third  goddess  m  the  series  is  Vajrasphota  as  the  presiding  deity 
of  the  Western  direction.  Her  form  is  given  as  under  : 

"Pascime  Vajrasphota  rakta  vajrasphotahkasavyakara" 

NSP,  p.  38. 

1.  Clark  :  TLP,  II.  p.  64 

2.  Clark  :  TLP,  II,  p.  64 
38 


298  BUDDHIST  ICONOGRAPHY 

"In  the  West,  there  is  Vajrasphota,  red  in  colour,  holding  in  her 
right  hand  the  Chain  marked  with  a  Vajra". 

The  left  hand  as  usual  displays  the  raised  index  finger.  There  are 
statuettes  of  this  deity  in  China  l .  One  of  the  Chinese  statuettes  is 
illustrated  in  Fig.  194. 

4.    VAJRAGHANTA 

Colour — Green  Face —  One 

Arms — Two  Direction — North 

Symbol— Bell 

The  fourth  deity  in  the  series  is  Vajraghanta,  who  is  the  embodiment 
of  the  Northern  direction  and  is  described  as  follows  : 


"Uttare  Vajraghanta  syama  vajraghantahkadaksinabhuja''. 

NSP,  p.  38 

"In  the  North  there  is  Vajraghanta,  green  in  colour,   holding  in  her 
right  hand  the  Bell", 

The  left  hand  of  the  goddess  displays  as  usual  the  raised  index  finger. 
A  statuette  of  this  goddess  occurs  in  the  Chinese  collection  -. 

5.    USNISAVIJAYA 

Colour—  White  Face—One 

Arms  —  Two  Direction  —  Up 

S  y  mbol  —  Discus 

The  fifth  goddess  in  the  series  is  Usmsavijaya  who   is   the  presiding 
deity  of  the  Upper  region.     Her  form  is  described  thus  : 

"Urddhve  Usmsavijaya  sukla  cakrabhrtsavyabhuja". 

NSP,  p.  38 

"In  the  upper  region  there  is  goddess  Usnisavijaya,  white  in   colour, 
holding  the  Discus  in  her  right  hand". 

The  left  hand  of  the  goddess  displays  as  usual  the  raised  index  finger. 
A  statuette  of  this  deity  occurs  in  China  3. 


u    Qark: 

2.  Clark  :  TLP,  II,  p.  286. 

3.  Clark  :  TLP,  II  p.  65. 


COLLECTIVE  DEITIES  299 

6.     SUMBHA 

Colour — Blue  Face — One 

Arms — Two  Direction — Down 

Symbol — Noose  of  Snake 

The  sixth  and  the  last  goddess  in  the  series  is  Sumbha  who  is  the 
presiding  deity  ot  the  Nether  region.  Her  form  is  described  as 
under  : 

"Adhah  Sumbha  nila  savyena  nagapasadhara" 

NSP,  p.  38 

"Below  is  Sumbha  blue  in  colour,  holding  in  her  left  hand  the 
Nocse  made  of  a  snake1'. 

Her  left  hand  as  usual  displays  the  raised  index  finger.  She  is  not 
represented  in  the  Chinese  collection. 

III.    EIGHT  USNISA  GODS 

In  Vajrayana  there  is  a  class  of  gods  going  under  the  generic  name 
of  Usmsas.  The  word  Usmsa  means  'the  crown'  but  the  deities  have 
nothing  to  do  with  the  crown.  They  are  usually  placed  like  the  gods  of 
Direction,  in  the  four  principal  directions  and  the  four  intermediate 
corners.  These  eight  Usmsa  gods  seem  to  be  an  extension  of  the  four 
Dhyani  Buddhas,  and  they  show  their  characteristic  symbols  and 
mudras.  They  are  nevertheless  popular  in  Tantric  works,  and  their 
statues  are  found  in  China.  Hence  it  is  necessary  to  make  a  passing 
reference  to  these  Usmsa  gods  briefly,  for  without  an  account  of  these 
this  chapter  is  likely  to  be  incomplete.  Below  is  given  a  description  of 
these  special  deities  in  the  same  order  as  they  appear  in  the  Durpati- 
parisodhana  Mandala  of  the  Nispannayogavall,  The  Usmsa  deities 
like  all  other  deities  of  the  Mandala  are  two-armed  and  one-faced.  They 
wear  rich  dress  and  ornaments,  and  a  bejewelled  crown.  They  sit  on 
human  beings* 

1.    VAJROSNISA 

Colour — White  Symbol — Bhusparsa 

Direction — East 

The  first  deity  in  this  Usmsa  series  of  gods  is  Vajrosmsa  and  his 
form  is  described  thus  : 

"Purvare  Vajrosnisah  suklo  Bhusparsamudrah". 

NSP,  p.  66 


300  BUDDHIST  ICONOGRAPHY 

"On  the  Eastern  spoke  there  is  Vajrosmsa  of   white  colour.    He 
shows  the  Bhusparsa  (Earth-touching)  mudra". 

A  statue  of  this  god  is  found  in   the   Chinese  collection  l.  Fig.  195 
illustrates  this  Chinese  statuette. 

2.     RATNOSNISA 

Colour — Blue  Symbol — Varada 

Direction — South 

The  second  deity  in  the  Usnisa  series  of  gods  is  Ratnosmsa   and   his 
form  is  described  as  under  : 

"Daksinare  Ratnosmso  nilo  Varadamudrayanvitah". 

NSP,  p.  66. 

"On  the  Southern  spoke  there  is  Ratnosmsa  who  is    blue  in   colour 
and  shows  the  Varada  mudra". 

His  statuette  is  not  found  in  the  Chinese  collection. 

3.  PADMOSNlSA 

Colour — Red  Symbol — Dhyana 

Direction — West 

The  third  deity  in  the  series  of  eight  Usnisa  gods   is  called   Padmo^ 
smsa  and  his  form  is  described  as  under  : 

"Pascimare  Padmosmso  rakto  Dhyanamudrayanvitah" 

NSP,  p.  66 

"On  the  Western  spoke  there  is  Padmosmsa  who  is   red   in  colour 
and  shows  the  Dhyana  mudra". 

He  is  not  represented  in  the  Chinese  collection. 

4.  VISVOSN1SA 

Colour — Green  Symbol — Abhaya 

Direction — North 

The  fourth  deity  in  the  series  of  eight  Usnisa  gods  is  called   Visvo- 
snisa  and  his  form  is  described  as  under  : 

"Uttarare  Visvosmso  harito  Abhayapradah". 

NSP,  p.  66. 


1.    Clark  :  TLP,  II,  p.  65 


COLLECTIVE  DEITIES  301 

"On  the  Northern  spoke  there  is  Visvosnlsa  who  is  green  in  colour 
and  shows  the  Abhaya  mudra". 

He  is  not  represented  in  the  Chinese  collection. 

5.    TEJOSNISA 

Colour  — Whitish  red  Symbol — Sun 

Direction — Agm 

The  fifth  deity  in  the  series  of  the  eight  Usmsa  gods  is  called  Tejo- 
snisa,  and  his  form  is  described  as  under  : 

•'Agneyare  Tejosmsah  sitaraktamisravarnah  suryabhrddaksinapanih 
katisthavamakarah". 

NSP,  p.  66 

41  On  the  spoke  in  the  Agni  corner  there  is  Tejosmsa  of  whitish  red 
colour.  In  his  right  hand  he  holds  the  disc  of  the  sun  while  the  left 
rests  on  the  hip". 

A  statuette  of  his  is  found  in  the  Chinese  collection  under  the  title 
of  Tejorasyusmsa  *. 

6.  DHVAJOSNTsA 

Colour — Reddish  blue  Symbol — Cintamani  Banner 

Direction — Nairrta 

The  sixth  deity  in  the  series  of  eight  Usmsa  gods  is  called  Dhvajosm- 
sa,  and  his  form  is  described  in  the  following  words  : 

"Nairrtyare  Dhvajosmso  raktamisrakrsnah  Cintamanidhvajadha' 
rah  karabhyam"  NSP,  p.  66 

"On  the  spoke  in  the  Nairrta  corner  there  is  Dhvajosmsa  who  is 
reddish  blue  in  colour.  He  holds  in  his  two  hands  the  Cintamani 
banner" 

He  is  not  represented  in  the  Chinese  collection. 

7.  TIKSNOSNISA 

Colour — Sky*green  Symbol — Sword  and  Book 

Direction  -  Vayu 

The  seventh  deity  in  the  series  of  eight  Usmsa  gods  is  called  Tiksno- 
smsa,  and  his  form  is  described  in  the  following  words  : 

"Vayavyare  TIksnosnIso  nabhahsyamo  daksinapanina  krpanarh  vibh* 
rano  vamena  pustakarh."  NSP,  p.  66 


1.    Clark  :  TLF,  II,  p.  158 


302  BUDDHIST  ICONOGRAPHY 

"On  the  spoke  in  the  Vayu  corner  there  is  Tlksnosmsa  of  sky-green 
colour*  He  holds  in  the  right  hand  the  sword  and  in  the  left  hand  a 
manuscript.'' 

His  statuette  is  found  in  the  Chinese  collection  l. 

8.    CHHATROSNISA 

Colour — White  Symbol — Parasol 

Direction — Isana 

The  eighth  and  the  last  deity  in  the  series  of  eight  Usnlsa  gods  is 
called  Chhatrosnisa,  and  his  form  is  described  thus  : 

"Isanare  Chhatrosmso  subhro  bhujabhyam   chhatram  vibhranah. 

NSP,  p.  66 

''On  the  spoke   in  the  Isana  corner  there  is  Chhatrosnisa  who  is   of 
white  colour,  and  holds  in  his  two  hands  the  Chhatra  (parasol). 
He  is  not  represented  in  the  Chinese  collection, 

IV.    FIVE  PROTECTRESSES 


The  five  protectresses  or  the  Raksa  deities  as  they  are  called  in 
Tantric  works,  are  popular  and  well-known  amongst  the  Mahayana 
Buddhists,  particularly  of  Nepal.  A  manuscript  copy  of  the  Pancar- 
aksa describing  the  five  Raksa  deities,  their  worship  on  different  occa- 
sions and  their  powers,  is  to  be  found  in  almost  every  Buddhist  house- 
hold in  Nepal.  Such  manuscripts  are  often  very  artistically  written  and 
they  bear  miniature  pictures  of  not  only  the  five  Raksa  deities  but  also 
of  other  Buddhist  deities  such  as  the  Dhyani  Buddhas  and  their  Saktis* 
That  their  worship  was  much  in  vogue  is  evident  from  the  fact  that 
their  images  either  in  stone  or  in  metal  are  met  with  in  almost  all  mona- 
steries. The  miniatures  reproduced  here  are  from  a  manuscript  of 
Pancaraksa  in  the  possession  of  Dr.  Evans  Wentz. 

The  reason  why  the  five  Raksa  deities  are  popular  is  to  be  found 
in  the  Sadhanamala  According  to  this  authority  the  five  Raksa 
deities,  when  worshipped,  grant  long  life.  They  protect  kingdoms, 
villages  and  meadows.  They  protect  men  from  evil  spirits,  diseases  and 
famines,  and  from  all  possible  dangers  that  may  befall  mankind.  The 
Pancaraksa  is  recited  in  all  varieties  of  domestic  difficulties,  such  as, 
illnesses,  adversities,  loss  of  wealth,  cattle,  etc. 

All  the  five  deities  are  worshipped  either  singly  or  collectively  in  a 
Mandala.  A  description  of  the  Pancaraksa  Mandala  occurs  both  in 
the  Sadhanamala  and  the  Nispannayogavall.  In  both  Mahapratisara 

1.     Clark  :  TIP,  II,  p.  131 


COLLECTIVE  DEITIES  303 

is  the  central  or  the  principal  deity  while  the  four  others  occupy  the 
four  cardinal  directions.  Below  is  given  a  description  of  the  five  Raksa 
deities  as  it  appears  in  the  Nispannayogavali. 

1.     MAHAPRATISARA 

Colour — Yellow  Faces — Four 

Arms — Twelve  Symbol — Jewel 

The  place  of  Mahapratisara  is  in  the  centre  of  the  Mandala,  and 
her  form  is  described  in  the  Nispannayogavali  in  the  following  words  : 

" Mahapratisara  pitabharaktaprabhamandalacaturmukha,  mulamukharh 
pitam,  savyam  sitam,  pascimarh  mlam,  vamam  raktam.  Daksine  ratna* 
cchata-cakra-vajra'sara-khadga^varadamudrah.  Vamair^vajram  pasam  tri- 
sularh  dhanuh  parasum  sankham  ca  bibhratlti  dvadasabhuja.  Caitya- 
lankrtasiraska  vajraparyankasma".  NSP,  p.  42 

" Mahapratisara  has  a  yellowish  red  halo  and  is  four-faced.  The 
first  face  is  yellow,  the  right  is  white,  the  face  behind  is  blue  and  the 
left  is  of  red  colour.  In  her  six  right  hands  she  holds  :  1.  the  jewel, 
2.  the  discus,  3.  the  Vajra,  4»  the  arrow,  5.  the  sword  and  6.  the 
Varada  mudra.  In  the  six  left  hands  she  displays  :  1.  the  Vajra.  2.  the 
noose,  3.  the  trident,  4.  the  bow,  5.  the  axe  and  6,  the  conch. 
Thus  the  deity  is  twelve-armed.  Her  head  is  beautified  with  a  Caitya, 
and  she  sits  in  the  Vajraparyahka  attitude". 

The  form  described  in  the  Sadhanamala  is  somewhat  different.  In 
this  work  she  has  only  eight  arms  instead  of  twelve.  Fig.  196  illustrates 
a  miniature  of  Mahapratisara  in  the  collection  of  Dr.  Evant>  Wentz. 
She  is  also  popular  in  Tibet  l  and  her  statuette  occurs  in  the  Chinese 
collection  of  Peiping  a. 

2.     MAHAsAHASRAPRAMARDANl 

Colour — White  Faces — Four 

Arms — Ten  Symbol — Discus 

Mahasahasrapramardani  is  the  second  deity  in  the  group  of  five 
Raksa  deities  and  she  is  assigned  to  the  eastern  direction.  Her  form  is 
described  in  the  Nispannayogavali  in  the  following  words  : 

"Purvasyam  disi  Mahasahasrapramardani  visvambhojacandre  lalitak- 
sepena  nisanna  sukla  candraprabhamandala  caturmukhl.  Mulam  sitam, 
savyam  krsnam,  prstharh  pitam,  vamam  haritam.  Savyabhujaih  padma- 
sthastaracakram  varadam  ankusam  banam  krpananca.  Vamairvajram 
tarjaniih  pasarh  dhanuh  pasanceti  dasabhuja."  NSP,  p.  42. 

1.  For  a  Tibetan  specimen  see  Gordon  :  ITL,  p.  76. 

2.  Clark  :  TLP,  II,  pp.  190,  216,  276  as  Pratisara. 


304  BUDDHIST  ICONOGRAPHY 

"In  the  East  there  is  Mahasahasrapramardani  sitting  in  the  Lalita 
attitude  on  the  orb  of  the  moon  placed  on  a  double  lotus.  She  is 
white  in  colour,  has  a  halo  of  the  white  moon  and  is  fouivfaced.  Her 
principal  face  is  of  white  colour,  the  right  blue,  the  face  behind  is 
yellow  and  the  left  is  of  green  colour.  In  her  five  right  hands  she  shows 
1.  the  eight*spoked  wheel  on  a  lotus,  2.  the  Varada  mudia,  3.  the 
goad,  4.  the  arrow  and  5.  the  sword.  In  her  five  left  hands  she  exhibits 
1  the  Vajra,  2.  the  raised  index  finger  (Tarjam),  3.  the  noose 
4.  the  bow  and  5.  the  noose  Thus  she  is  ten-armed". 

The  Sadhanamala  describes  her  form  somewhat  differently  Here 
the  deity  has  only  eight  arms  instead  of  ten.  Her  images  are  widely 
known  in  Nepal,  and  in  Tibet  and  China  her  statuettes  are  iound  l. 

Fig.  197  illustrates  a  miniature  in  the  collection  of  Dr.  Evans  Wentz 

3.     MAHAMANTRANUSARlNl 

Colour — Blue  Faces — Three 

Arms — Twelve  Symbol — Vajra 

The  form  of  this  third  Raksa  deity  is  described  in  the  Nispannayo- 
gavali  in  the  following  words  : 

uDaksinasyarh  visvambhojasurye  suryaprabha  Mahamanftranusarinl 
vajraparyankini  krsna  krsnasitarakta-mula-  avyavamamukhi.  Dvada- 
sabhuja.  Savyetarabhyam  dharmacakramudiam  bibhrana  aparabhyam 
samadhimudram.  Aparair-daksinair^vajra-bana-varad'abhayamudrah. 
Vamais-tarjanipasam  caparh  ratnacchatarh  padmankitakalasam  ca'\ 

NSP,  p.  42. 

"In  the  South  on  the  orb  of  the  sun  over  a  double  lotus  there  is 
Mahamantranusanm  with  the  halo  of  the  sun.  She  sits  in  the  Vajra* 
paryahka  attitude  and  is  blue  in  colour  Her  principal  face  is  blue, 
the  right  is  white  and  the  left  is  red.  She  is  twelve-armed.  With  one 
pair  of  hands  she  displays  the  2.  Dharmocakra  mudra.  With 
another  pair  of  hands  she  exhibits  the  4-  Samadhi  mudra.  In  the 
remaining  four  right  hands  she  shows  5.  the  Vajra,  6.  the  arrow, 
7.  the  Varada  and  8,  the  Abha>a  mudras.  The  remaining  four 
left  hands  exhibit  9.  the  Tarjam  with  the  noose,  10.  the  bow,  11  the 
jewel  and  12.  the  jar  marked  with  a  lotus1'. 

Like  the  other  deities  of  the  Pancaraksa  group  Mahamantranusarinl 
is  also  widely  represented.  She  was  probably  known  in  China  under 

1,     For  Tibetan  specimens,  see  Gordon  :   ITL  p.  76  ;  Getty  :  GNB,  p.  138. 


COLLECTIVE  DEITIES  305 

the  title  of  Mantranudharini  l.  Fig.  198  illustrates  a  miniature  of  the 
goddess  in  the  collection  of  Dr.  Evans  Wentz.  Here  as  well  as  in  the 
Sadhanamala  the  goddess  is  twelve-armed.  2. 

4.  MAHA&TAVATI 

Colour— Red  Faces— Thi  ee 

Arms — Eight  Symbol — Lotus 

The  fourth  deity  in  the  series  of  five  Raksa  goddesses  is  named  as 
Mahasitavati  to  whom  the  western  direction  is  assigned.  Her  form  is 
described  in  the  Nispannayogavali  thus  : 

"Pascimayarh  visvabjasurye  ardhaparyahkanisanna  suryaprabha 
Mahasitavati  rakta  rakta-sita-krsnamulasavyetaravaktra.  Astabhuja. 
Savyaih  sapadmabhayarh,  saram,  vajrarh,  khadgam.  Vamais*tarjam- 
pasarh,  capam,  ratnadhvajarh,  hrdi  pustakam  ca  bibhrati". 

NSP,  p.  42 

*'ln  the  West  on  the  orb  of  the  sun  on  a  double  lotus  there  is 
Mahasitavati  sitting  in  the  Ardhaparyahka  attitude  with  the  halo  of 
of  the  sun.  She  is  red  in  colour,  and  her  faces  show  the  red,  the  white 
and  the  blue  colour  in  the  first,  the  right  and  the  left  faces  respectively. 
She  is  eight-armed.  In  the  four  right  hands  she  displays  1.  the  lotus  with 
the  Abhaya  mudra,  2.  the  arrow,  3.  the  Vajra  and  4.  the  sword.  In 
the  four  left  hands  she  shows  1.  the  noose  with  the  Tar  jam,  2.  the 
bow,  3.  the  jewel  banner  and  4.  the  manuscript  against  the  chest". 

In  the  Sadhanamala  she  is  six-armed  and  green  in  colour.  She  is 
widely  represented  in  Buddhist  countries.  Under  the  title  of  Sitavati 
she  is  known  to  the  Chinese  collection  at  Peiping  B.  Fig.  199  is  an 
illustration  of  her  miniature  in  the  collection  of  Dr.  Evans  Wentz  4* 

5.  MAHAMAYUR1 
Colour — Green  Faces — Three 

Arms — Eight  Symbol — Mendicant  on    Bowl 

Mahamayuri  is  the  fifth  and  the  last  deity  of  the  Pancaraksa  Mandala 
of  the  Nispannyogavall.  Her  form  is  described  in  the  following  words  : 

"Uttarasyam  visvabjacandre  candraprabha  sattvaparyahkl  Mahamay- 
uri harita  harita-krsna-sukla-mulasavyetaravaktra.  Astabhuja.  Savyair- 
mayiirapiccham  banam  varadarh  khadgam  ca.  Vamaih  patropari 
bhiksum  capam  utsahgastharatnacchatavarsighatam  visvavajraratnanka- 
dhvajam  ca  bibhrana."  NSP,  p.  42 

1.  Clark  :  TLP,  II,  pp.  205,  275. 

2.  For  a  Tibetan  specimen,  see  Gordon  :  1TL,  p.  76. 

3.  Clark  :  TLP,  II,  pp.  206,  275. 

4.  For  a  Tibetan  specimen,  see  Gordon  :  ITL,  p.  76 

39 


306  BUDDHIST  ICONOGRAPHY 

"In  the  North  on  the  orb  of  the  moon  on  a  double  lotus,  with  the 
halo  of  the  moon  and  sitting  on  a  man,  there  is  Mahamayurl.  She 
is  green  in  colour,  and  her  three  faces  show  the  green,  the  white  and 
the  blue  colour  in  the  first,  the  right  and  the  left  faces  respectively.  She 
is  eight-armed.  In  the  four  right  hands  she  holds  1.  the  jewel,  2.  the 
arrow,  3.  the  Varada  mudra  and  4-  the  sword.  In  the  four  left  hands 
she  shows  1.  the  medicant  on  the  bowl,  2.  the  bow,  3.  the  jar  on 
the  lap  showering  jewels,  and  4»  the  banner  marked  with  the  double 
Vajra  and  the  jewel". 

The  description  of  the  goddess  in  the  Sadhanamala  is  somewhat 
different.  Here  she  is  endowed  with  the  yellow  colour*  But  in  both 
places  she  is  eight-armed.  Like  the  other  Raksa  deities  Mahamayurl  is 
widely  represented.  She  is  known  in  Tibet  l  and  in  the  Chinese  collec- 
tion at  Peiping  2.  Fig.  200  illustrates  a  miniature  in  the  collection  of 
Dr.  Evans  Wentz. 

According  to  a  statement  in  the  Nispannayogavali  any  one  of  the  five 
Raksa  deities  may  become  a  leader  in  the  Mandala  and  occupy  the 
central  position.  All  the  other  deities  in  that  case  will  become  her 
subordinate  companions. 

V.    TARAS  OF  FIVE  COLOUR 

Strictly  speaking,  only  those  deities  can  be  called  Taras  to  whom  the 
mantia  :  Om  Tare  Tuttare  Ture  Svaha  is  assigned.  In  the  simplest  form 
Taras  carry  the  night  lotus  in  the  left  hand  and  exhibit  the  Varada 
mudra  in  the  right.  Some  of  them  bear  the  miniature  image  of  Amo- 
ghasiddhi  on  their  crowns,  but  others  may  not  have  any  effigy  of  the 
Dhyani  Buddha.  It  is  therefore  difficult  to  identify  their  images,  parti- 
cularly in  stone  where  no  definite  colour  can  be  seen.  Special  attention 
should  therefore  be  paid  not  only  to  the  particular  pose  in  which  the 
different  Taras  sit  but  also  to  their  companions  in  order  to  arrive  at  a 
correct  identification.  In  this  section  an  attempt  will  be  made  to 
indicate  the  characteristic  features  of  the  numerous  Taras  described  in 
the  Sadhanas  for  the  purpose  of  differentiation. 

In  the  Tantric  works  there  are  so  many  different  varieties  of  Tara 
that  it  is  physically  impossible  to  classify  them  correctly  without 
reference  to  their  peculiar  colour.  All  Taras  are  therefore  brought 
together  under  one  head  in  this  section.  From  the  colour  of  the 
different  Taras  it  will  be  possible  to  refer  them  to  their  respective  Kulas 
or  families  presided  over  by  the  five  Dhyani  Buddhas. 


1.  For  Tibetans  specimen,  see  ITL,  pp.  74,  76  ;  Getty  :  GNB,  pp.  137-138 

2.  Clark  :  TLP,  II,  pp.  206,  275. 


COLLECTIVE  DEITIES  307 

A,    GREEN  TAR  A  ' 

1.  Khadiravam  Tara  shows  the  Varada  mudra  in  the  right  hand  and 
the  night  lotus  in  the  left.     She  can  be   identified    by   the   presence  of 
Asokakanta  Marici  and  Ekajata. 

2.  Vasyatara  has  as   her  characteristic   feature  the   Bhadrasana   or 
the  European  fashion  of  sitting.     It  may  be    noticed   however  that  she 
is  described  as  single  and  as  such  is  not     accompanied    by   any   god   or 
goddess. 

3.  Aryatara.     The  characteristic   feature  of  this  form   of  Tara   is 
that  she  sits  in  the  Ardhaparyahka  attitude  and  like  Vasyatara  is  entirely 
alone. 

4.  Mahattari   Tara    may    be   distinguished    by     the    Vajraparyahka 
attitude  in  which  she  sits,  and  also  by   the   fact   of   her   being  represen- 
ted without  any  companion  whatsoever  (Fig,  210). 

5.  Varada  Tara  sits  m   the   Ardhaparyanka    attitude  like   Aryatara 
but  she  can  be  easily    recognised   by    the   presence   of    four  goddesses 
Asokakanta  Marici,  Mahama^uri,   Ekajata    and    Janguli.     (cf.  Mahasri 
Tara). 

6.  DurgottarinI   Tara      has      green   complexion,    the     lotus      for 
her  seat,  and  garments  of  white   colour;     she  has    four  arms  and  she 
carries  m  the  first  pair  of  hands  the  noose  and  the  goad  and   displays  in 
the  second  the  lotus  and  the  Varada  mudra. 

7.  Dhanada  Tara     carries   the   book   and   the  rosary   in  the  first 
pair  of  hands,   while  the  second  pair    carries   objects   similar  to  those 
held  by  DurgcttarmL     She  has  an  animal   for  her  Vahana,  is  accom* 
panied  by  eight  goddevsses  originating   from    the    eight  syllables  of  her 
mantra  and  bears  the  image  of  Amoghasiddhi  on  the  crown. 

8.  Jahguli      emanates     from      Aksobhya     and     may     have    three 
different  colour,    yellow,  white  and   green.     When   green,   she   is  fouiv 
armed,  and  carries  the  Trisula,  the  peacock's  feathers  and   a  snake  in 
three  hands  and  exhibits  the  Abhaya  mudra  in  the  fourth. 

9.  Parnasaban      when      green,       emanates     from     Amoghasiddhi 
and  when  yellow  from  Aksobhya,  and  as  such,  both  of  her   forms  have 
already  been   described.     She  is   generally   three- faced    and   six-armed 
but   may   in  rare  cases,  have  four  arms   also.      The  peculiarity  of  the 
green  variety  is  that  all  the  three  faces  depict  irritated  smile  (sakrodha- 
hasitananarh). 

J .    Getty  :   GNB,  p.    123  gives  a  list  of  Taras  of  green  colour. 


308  BUDDHIST  ICONOGRAPHY 

B.    WHITE  TARA  ' 

1.  Astamahabhaya  Tara.     The  distinguishing  feature  of  this    form 
of  Tara  is  that  she  sits  in  the  Ardhaparyahka  attitude  and  is  surrounded 
by  ten    goddesses     originating    from    the  ten  syllables  of  the  Tara 
mantra  :  Om  Tare  Tut  tare  Ture  Svaha.     These  ten  deities   are  identical 
in  appearance  with  the  principal  deity. 

2.  Mrtyuvancana  Tara.    The  distinctive  feature  of  this  form  of 
Tara  is  that  she  bears  a  wheel  on  her  chest.     She  is   absolutely  unatten- 
ded  and  sits  in  the  Vajraparyaiika  attitude. 

3.  Caturbhuja-Sitatara.     Her  form  has  already   been  described   as 
an   emanation  of  the  DhvSni   Buddha  Amoghasiddhi.     She    has  four 
arms  and   exhibits  in  the  first  pair  of  hands  the  Utpala  mudra,  and  the 
lotus,   and    the   Varada  pose  in   the  second.     She    may  be  recognized 
by  the   presence  of  two  goddesses,  Mahamayurl  and  Maricl. 

4.  Sadbhuja-Sitatara.     As  she  bears    the   image    of  Amoghasiddhi 
on  the  crown,  her  form  has  already  been  described.     She  is    three- faced 
and  six-armed  and  has  no  companions. 

5.  Visvamata.     She    has   been   described   in  the    Sadhanamala  as 
one-faced,  with  the  white  complexion  of  the  moon,  white  garments  and 
a  white  serpent  as  her  Vahana.     She  carries  the  white  lotus   in   the  left 
hand  and  exhibits  the  Abhaya   pose   in   the  right.      She  has  not   been 
described  as  bearing  any  image  of  her  sire. 

6.  Kurukulla  as  an  emanation  of  Amitabha  of  red  colour   generally 
assumes  the  red  colour,  but  when  two-armed,  she  has,  according  to  the 
Sadhanamala  the  white  colour.     She  carries  the  rosary  and  the  bowl   of 
lotus,   and   her   Vahana    is    an  animal. 

7.  Janguli  as  an  emanation  of  Aksobhya  ought  to  be  of  blue  colour, 
but  according  to  the  Sadhanamala  she   may   have  three  colour,  white 
yellow  or  green.     When  white  she  is  one-faced   and  four-armed,  plays 
on  the  Vina  with  the  first  pair  of  hands,  and  shows  the  white  serpent 
and  the  Abhaya  pose  in  the  second. 

C.    YELLOW  TARA  * 

1.  Vajratara.  She  is  yellow,  has  four  faces  and  eight  arms  and 
bears  the  image  of  the  Dhyani  Buddha  Ratnasambhava  on  her  crown* 
Forms  of  Vajratara  have  been  described  previously.  She  is  accom- 
panied by  ten  goddesses  when  worshipped  in  the  Mandala. 

L    Getty  ;  GNB,  p.  122  gives  a  list  of  Taras  of  white  colour. 
2*    Getty  :  GNB,  p.  124  gives  a  list  of  Taras  of  yellow  colour. 


COLLECTIVE  DEITIES  309 

2.  Jangull.     The  yellow  variety  of  Jahguli  has  three  faces  and  six 
arms  and  bears  the  image   of   the  Dhyani   Buddha  Aksobhya   on  her 
crown.    This  form  has  already  been  described. 

3.  Parnasabari.      When    yellow    Parnasabari  is  an  emanation  of 
Aksobhya,  has  three  faces  and  six  arms,  and  a  pleasant  smile  instead    of 
an  irritated  expression  on  her  faces.      This  form   of  Parnasaban  has 
also  been  described  under  the  female  emanations  of  Aksobhya. 

4.  Bhrkuti    is  yellow  and  emanates   from  Amitabha.     She  is  one- 
faced  and  four-armed,  shows  the  Varada  mudra  and  the   rosary   in   the 
two  right  hands  and  carries  the  Tridandl  and  the  Kamandalu  in  the   two 
left. 

D.  BLUE  TARA  ] 

1.  Ekajata.     She   may  have  several  forms  with  blue  colour,  and   bhe 
bears  the  image  of  her  sire  Aksobhya  on  her  crown  in  all  cases.    All 
her  forms  have  been  described  previously  along  with  the  other  emana- 
tions  of  the  Dhyani  Buddha  Aksobhya  including  the  terrible  form  which 
goes  by  the  name  of  Vidyujjvalakarali  of  blue  colour,  with  twelve   faces 
and  twenty-four  arms. 

2.  Mahacma  Tara.     She  also  bears   the  image  of  Asobhya  on  her 
crown,  and  has  already  been  described  as  one  of  the  female  emanations  of 
that  Dhyani  Buddha.  She  is  called  Mahacina  Tara  because  she  is  believed 
to  have  come  from    Mahacma,  the  place   where  she  was  originally   wor- 
shipped.    She  is  the  subject  of  the  Mahacinakrama-Tantra,  and  has  been 
incorporated  wholly  into  the  Hindu  Tantric  pantheon. 

E.  RED  TARA  - 

There  are  not  many  Red  Taras  in  the  Sadhanamala,  Kurukulla  being 
the  only  one  belonging  to  the  red  variety.  As  she  bears  the  image  of 
Amitabha  on  the  crown,  she  inherits  from  him  as  his  emanation,  her 
red  complexion.  Kurukulla  may  also  bear  the  image  of  the  five  Dhyani 
Buddhas  on  her  crown,  but  that  will  make  no  difference  as  to  the  colour 
of  her  complexion.  She  will  be  white  when  two-armed,  and  red  when 
four,  six  or  eight-armed  All  her  forms  have  been  described 
previously. 

VI.    EIGHT  GAURl  GROUP 

The  eight  deities  of  the  Gauri  group  of  goddesses  are  extremely 
popular  in  Vajrayana  and  are  found  described  in  several  places  both  in 
the  Sadhanamala  as  well  as  in  the  NispannayogavalL  These  goddesses 

1.  Getty:  GNB,  p.  125  gives  a  list  of  Taras  of  blue  colour. 

2.  Getty  :  GNB,  p.  126  gives  a  list  of  T§ras  of  ted  colour 


310  BUDDHIST  ICONOGRAPHY 

are  represented  also  in  the  Chinese  collection  of  statuettes  in  the  city  of 
Peiping.  Although  it  is  not  necessary  to  describe  their  different  forms 
extensively,  it  is  however  desirable  that  at  least  one  form  should  be 
recorded  here  to  stimulate  interest  in  their  iconography  and  identification. 
Below  is  therefore  given  the  description  of  the  eight  deities  of  the  Gaurl 
group  in  the  same  order  as  it  appears  in  the  Pancadaka  Mandala  of 
the  Nispannayogavali.  All  the  deities  are  violent  in  character  with 
fearful  appearance  and  ornaments,  and  garlands  of  heads.  They  dance 
in  Pratyalldha  and  show  the  raised  index  finger  with  clasped  fist  against 
the  chest,  as  the  common  gesture. 

1.  GAURl 
Colour — White  Arms — Two 

Symbol — Goad 

The  first  in  the  series  is  Gaurl.  Her  form  is  described  in  the  Panca- 
daka Mandala  where  the  Gaun  group  of  deities  surround  the  principal 
god  Vajradaka.  GaurFs  description  is  as  under  : 

%(Guuri  sita  savyenankusadharmr1  NSP,  p.  75 

''Gauri  is  white  and  holds  in  her  right  hand  the  goad". 

In   the  left  hand  she  shows  the  Tarjani  against  the  chest  which   is  the 

common   gesture.     Three   statuettes  of  this  goddess  are     found  in  the 

Chinese  collection  at  Peiping  l . 

2.  CAURl 

Colour — Yellow  Arms — Two 

Symbol — Noose 

The  second  goddess  in  the  Gaun  group  is  Cauri  whose  form  is  des- 
cribed in  the  Pancadaka  Mandala  as  follows  : 

tkCaun  pita  pasadhara"  NSP,  p.  75 

"Cauri  is  yellow  in  colour  and  holds  in  her  right  hand  the  noose". 
She  shows  the  raised  index  finger  in  the  left  like  all  other  deities   of 
this  group* 

Only  one  statuette  of  this  goddess  is  found  in  China  2. 

3.    VETALl 

Colour — Red  Arms — Two 

Symbol — Chain 

The  third  goddess  of  the  Gaurl  group  is  Vetall  whose  form  is 
described  in  the  PaScadaka  Mandala  in  the  following  words  : 

"  Vetall  rakta   bhujabhyam  sphotabhrt."  NSP,  p,  75 

1.  Clark  :  TLP,  II,  pp.  72,  92,  105 

2.  Clark  :  TLP,  II,  p.  92. 


COLLECTIVE  DEITIES  311 

*'Vetali  is  red  in  colour  and  holds  in  her  two  hands  the  chain." 

A  statuette  of  this  goddess  under  the  name  of  Vajravetali  is  found 
in  the  Chinese  collection  at  Peiping  l.  Fig.  202  illustrates  this  Chinese 
statuette. 

4.    GHASMARl 

Colour — Green  Arms — Two 

Symbol— Bell 

The  fourth  goddess  of  the  Gaurl  group  is  Ghasmari  whose  form  is 
described  in  the  Pancadaka  Mandala  as  follows  ; 

"Ghasmari  harita  vajraghantadhara"  NSP,  p.  75 

"Ghasmari  is  green  in  colour  and  holds  in  her  right  hand  the  bell 
marked  with  a  Vajra,17 

The  left  shows  the  common  gesture  of  Tarjani. 

Two  statuettes  of  this  obscure  goddess  are  found  in  the  Chinese 
collection  %  One  of  the  two  statuettes  is  illustrated  in  Fig.  203. 

5.  PUKKASl 

Colour — Blue  Arms — Two 

Symbol — Bowl 

The  fifth  in  the  series  of  the  Gauri  group  of  goddesses  is  Pukkasi  whose 
form  is  described  in  the  Pancadaka  Mandala  in  the  following  words  : 
"Pukkasi  nila  Bodhicittaghatahasta."  NSP,  p.  75 

"Pukkasi  is  blue  in  colour  and  holds  in  the  right  hand  the  bowl  of 
Bodhi  mind." 

The  left  shows  the  Tarjani  against  the  chest  as  a  common  gesture, 

Two  statuettes  of  this  obscure  goddess  occur  in  the  Chinese  collec- 
tion :}.  One  of  the  two  statuettes  is  illustrated  in  Fig.  204. 

6.  SABARl 

Colour — White  Arms — Two 

Symbol — Mem 

The  sixth  goddess  in  the  series  of  eight  deities  of  the  Gaurl  group  is 
described  in  the  Pancadaka  Mandala  in  the  following  words  : 

"£abarl  sita  Merudhara"  NSP,  p.  75 

"Sabari  is  white  in  colour  and  holds  in  her  right  hand  the  Meru 
mountain.'* 

The  left  exhibits  the  common  gesture,  the  Tarjam. 

Two  statuettes  of  this  goddess  are  found  in  the  Chinese  collection  4. 

1.  Clark  :  TLP,  II,  p.  62. 

2.  Clark:  TLP,  II,  pp  96,  100. 

3.  Cark  :  TLP,  II,  pp.  91,  100. 

4.  Clark  :  TLP,  II,  pp.  92,  100. 


312  BUDDHIST  ICONOGRAPHY 

7.    CANDALl 

Colour — Blue  Arms— Two 

Sym  bol-— Fire-pot 

The  seventh  deity  among  the  eight  goddesses  of  the  Gauri  group  is 
known  as  Candali  and  her  form  is  described  in  the  Pancadaka  Mandala 
as  follows  : 

"Candali  nila  vahnikundabhrt",  NSP,  p.  75 

"Candali  is  blue  in  colour,  and  holds  a  fire-pot  in  her  right  hand". 
The  left  shows  the  common  gesture  of  Tarjani. 

Two  statuettes  of  this  goddess  are  to  be  found  in  the  Chinese 
collection  J. 

8.    DOMBl 

Colour—Mixed  Arms— Two 

Symbol — Banner 

The  eighth  and  the  last  goddess  in  the  group  of  deities  headed  by 
Gauri  is  described  thus  in  the  Pancadaka  Mandala  as  an  associate  of 
Vajradaka  : 

"Dombi  visvavaina  mahadhvajapatakam  dhatte".         NSP,  p.  75 

"Dombl  is  of  mixed  colour  and  carries  in  her  right  hand  the  high 
flag  and  banner". 

The  left  hand  displays  the  common  gesture  of  the  Tarjanl  against 
the  chest. 

She  is  represented  only  once  in  the  Chinese  collection  as  Dombinl  L>. 
Fig.  205  illustrates  this  Chinese  statuette. 

VII.     FOUR  DANCE  DEITIES^ 

There  are  four  deities  in  this  group  and  they  are  homogenous  in  cha- 
racter. These  are  Lasya,  Mala,  GIta,  and  Nrtya,  all  required  in  the 
staging  of  a  drama  or  in  entertainments.  All  these  four  deities  are 
popular  in  the  Vajrayana  pantheon  and  are  described  times  without 
number  both  in  the  Sadhanamala  as  well  as  in  the  NispannayogavalL 
In  the  Chinese  collection  at  Peiping  statuettes  of  these  deities  are  found. 
Although  it  is  not  possible  to  describe  all  their  forms  here,  an  endea- 
vour will  be  made  at  least  to  describe  one  typical  form  of  each  for  the 
purpose  of  recognition.  Below  is  given  an  account  of  the  four 
goddesses  headed  by  Lasya  in  the  same  order  as  it  occurs  in  the  Panca- 
daka Mandala  of  the  Nispannayogavall.  They  are  violent  in  charac- 
ter with  garland  of  severed  heads,  and  dance  in  Pratyalidha.  They 
show  the  Tarjani  against  the  chest  as  the  common  gesture. 

1.  Clark  :  TIP,  II,  pp.  96,  110.  ~~ 

2.  Clark  :  TIP,  II,  p.  96. 


COLLECTIVE  DEITIES  313 

1.     LASYA 

Colour — Red  Arms — Two 

Symbol — Lasya  dance 

The  first  deity  of  the  Lasya  group  is  Lasya  who   is   described   in   the 
following  words  : 

"Lasya  rakta  sagarvarh  lasyabhinayobhayabhuja'1.          NSP,  p.  76 

"Lasya  is  of  red  colour  and  with  pride  she  arranges   her  two  hands 
in  the  Lasya  act''. 

Two  statuettes  of  Lasya  are  found  in  the  Chinese  collection  3.   One 
of  the  statuettes  is  illustrated  in  Fig.  206. 

2.     MALA  (MALYA) 

Colour — Red  Arms — Two 

Symbol — Garland 

The  second  deity  of  this  group  is  Mala  who  is  described  as  follows  : 
"Mala  rakta  karabhyarh  ratnamalabhrt'1.  NSP,  p.  76 

"Mala  is  of  red  colour  and  holds  in  her   two   hands  the   garland  of 
jewels". 

Three  statuettes  of  this  goddess  under  the  slightly  different  name   of 
Malya  occur  in  the  Chinese  collection  of  images   at  Peiping  *J. 

3.    G1TA 

Colour — Reddish  white  Arms — Two 

Symbol — Indian  Gong 

The  third  deity  of  this  group  is  Gita  who  is  described  in  the  Panca* 
daka  Mandala  as  under  : 

"Gita  raktasita  bhujabh>arh  karhsike  vadayanti"  NSP,  p.  76. 

"Gita  is  reddish  white  in  colour,   and   with   her  two   hands  she    is 
engaged  in  playing  on  the  Indian  gong  (Karhsi). 

Three  statuettes  of  this  goddess  occur  in  the  Chinese  collection*. 
One  of  these  three  statuettes  is  illustrated  in  Fig,  207. 

1.  Clark  :  TLP,  II,  pp.  63,  145, 

2.  Clark  :  TLP,  II,  pp.  63,  103,  145, 

3.  Clark  :  TLP,  II,  pp.  63,  94.  146. 
40 


314  BUDDHIST  ICONOGRAPHY 

4.    NRTYA 

Colour — Mixed  Arms — Two 

Symbol—  Vajra 

The  fourth  and  the  last  goddess  in  the  Lasya  group  is  Nrtya  whose 
form  is  thus  described  in  the  Nispannayogavall : 

"Nrtya  visvavarna  savajrabhujabhyam  nrtyanti",  NSP,  p.  76. 

"Nrtya  is  of  variegated  colour  and  she  dances  with  her  two  hands 
holding  the  Vajra". 

Three  statuettes  of  this  goddess  are  noted  in  the  Chinese  collection1. 
One  of  the  three  statuettes  is  illustrated  in  Fig.  208* 

VIII.    FOUR  MUSICAL  INSTRUMENTS 

There  is  a  further  group  of  goddesses  representing  the  four 
musical  instruments  and  are  often  mentioned  in  the  Sadhanas  and 
Mandalas  as  companions  of  important  deities.  When  everything  else  is 
deified  there  is  no  reason  why  these  musical  instruments  should  not  also 
be  deified.  These  four  Musical  Instruments  are  named  as  Vamsa  (flute) 
Vina  (violin),  Mukunda  ((kettle-drum)  and  Muraja  (drum)  and  we  find 
them  all  deified  with  human  form,  colour,  faces,  hands  and  symbols. 
In  the  Vajradaka  Mandala  they  are  collectively  described  as  nude,  violent 
in  appearance,  wearing  garlands  of  skulls  and  severed  heads  and  dancing 
in  Pratyalidha.  They  display  the  different  instruments  as  their  special 
symbols.  They  are  described  below  in  the  same  order  in  which  they 
appear  in  the  Pancadaka  Mandala. 

1.    VAMSA 

Colour — Red  Arms — Two 

Symbol — Flute 

The  first  in  the  series  of  deities  representing  the  musical  instruments 
is  called  Vamsa  whose  form  is  described  in  the  following  terms  in  the 
Pancadada  Mandala  : 

"Vaihsa  rakta  karabhyam  dhrtavamsam  vadayanti".      NSP,  p.  76 

"Vamsa  is  red  in  colour.  She  holds  the  flute  in  her  two  hands  and 
plays  on  it/' 

She  is  not  represented  in  the  Chinese  collection. 
1.    Clark  :  TLP,  II,  pp.  64,  93,  143. 


COLLECTIVE  DEITIES  315 

2.     VlNA 

Colour — Yellow  Arms — Two 

Symbol — Vina  Instrument 

The  second  goddess  representing  musical  instruments  is  called  Vina, 
and  her  form  is  described  in  the  following  words  : 

"Vina  pita  vmavadanakaradvaya/'  NSP,  76 

"Vina  is  yellow  in  colour.  With  her  two  hands  she  plays  on  the 
musical  instrument,  the  Vina." 

In  the  Chinese  collection  she  is  represented  as  goddess  Vmadhara 
which  is  the  same  as  Vina  l .  This  Chinese  statuette  is  illustrated  in 
Fig.  209. 

3.     MUKUNDA 

Colour — White  Arms — Two 

Symbol — Mukunda  Instrument 

The  third  goddess  in  this  series  is  the  goddess  Mukunda  who  plays 
on  the  instrument  called  the  Mukunda.  Her  form  is  described  thus  in 
the  Nispannayogavali  : 

"Mukunda  sita  karabhyarh  Mukundarh  vadayanti."       NSP,  p.  76 

"Mukunda  is  white  in  colour.  She  plays  on  the  instrument  called 
the  Mukunda  with  her  two  hands", 

One  statuette  of  Mukunda  is  found  in  the  Chinese  collection  under 
the  name  of  Mukundadhara,  who  is  the  same  as  Mukunda  -*  This 
Chinese  statuette  is  illustrated  in  Fig  210. 

4.     MURAJA 

Colour — Smoky  Arms — Two 

Symbol — Muraja  Instrument 

The  fourth  and  the  last  deity  in  the  series  of  goddesses  of  musical 
instruments  is  the  goddess  Muraja  whose  principal  symbol  is  the  Muraja 
on  which  she  plays.  Her  form  is  described  as  under  : 

"Muraja  dhumravarna  murajavadanaparabhujadvaya." 

NSP,  p.  76 

''Muraja  is  of  the  colour  of  smoke,  and  she  is  engaged  with  her  two 
hands  in  playing  on  the  Muraja  instrument." 

She  is  not  represented  in  the  Chinese  collection. 

1.  Clark  :  TLP,  II,  p.  107 

2.  Clark  ;   TLP,  II,  p    107. 


316  BUDDHIST  ICONOGRAPHY 

IX.     FOUR  DOOR  GODDESSES 

The  door  is  an  important  item  in  household  furniture,  because  of 
its  power  of  giving  protection  against  thieves  and  animals  and  unpleasant 
intruders.  The  door  planks,  the  lock,  the  key,  and  the  curtain,  all  the 
four  are  important  articles,  and  thus  these  are  all  deified  in  Vajrayana. 
They  are  given  human  form,  colour,  faces,  arms  and  symbols.  They 
are  found  described  in  the  Pancadaka  Mandala  of  the  Nispannayogavall. 
Collectively  they  are  described  as  nude,  dancing  in  Pratyalidha,  with 
fearful  appearance,  and  awe-inspiring  ornaments.  They  are  described 
below  in  the  same  order  in  which  they  are  treated  in  the  Mandala.  They 
hold  their  special  symbols  appropriate  to  their  names, 

1.  TALIKA 
Colour — White  Arms — T  wo 

Symbol— Lock 

The  first  in  the  list  of  door  goddesses,  is  Talika.  Her  form  is  des- 
cribed as  follows  : 

"Talika  sita  talikahasta"  NSP,  p.  77 

"Talika  is  white  in  colour  and  holds  in  her  two  hands  the  Talika  or 
the  Lock." 

A  statuette  of  this  most  obscure  but  interesting  deity  is  found  in 
the  Chinese  collection.  In  this  collection  her  name  is  somewhat  differ- 
ently stated  as  Dvaratalakadhara  '.  Fig.  211  illustrates  her  statuette  in 
China. 

2.  KUNCI 
Colour— Yellow  Arms— Two 

Symbol — Keys 

The  second  goddess  in  this  series  is  called  Kunci  from  the  keys 
that  she  holds.  Her  form  is  described  as  under  : 

"Kunci  pita  kuncikahasta",  NSP,  p.  77 

"Kunci  is  yellow  in  colour  and  holds  the  Keys  in  her  two  hands/' 

A  statuette  of  this  goddess  occurs  in  the  Chinese  collection  under 
the  title  Kuncikadhara.  She  is  of  the  same  description  as  above  L'. 

1.  Clark  :  TLP,  II,  p.  108. 

2.  Clark  :  TLP,  II,  p.  108, 


COLLECTIVE  DEITIES  317 

3.    KAPATA 

Colour — Red  Arms — Two 

Symbol — Planks 

The  third  deity  in  the  series  of  the  four  door  goddesses  is  called 
Kapata.  Her  form  is  described  as  follows  : 

* 'Kapata  rakta  kapatadhara".  NSP,  p.  77 

* 'Kapata  is  of  red  colour  and  holds  in  her  two  hands  the  Door 
Planks.1' 

A  statuette  of  this  goddess  is  found  in  the  Chinese  collection  under 
the  title  of  Dvaradhara.  The  two  are  identical  ].  Fig,  212  illustrates 
her  statuette  found  at  Peiping. 

4.    PATADHARINl 

Colour — Blue  Arms — Two 

Symbol — Curtain 

The  fourth  and  the  last  goddess  in  the  series  of  four  deities  of  the 
door  is  called  by  the  name  of  Patadharim.  Her  form  is  described  in 
the  Pancadaka  Mandala  as  under  : 

"Patadharim  krsna  karabhyarh  kandapatam  vibhrati." 

NSP,  p.  77 

"Patadharim  is  blue  in  colour.  She  holds  in  her  two  hands  the 
curtain  (Kandapata) . 

A  statuette  of  this  goddess  occurs  in  China  under  the  title  of  Vita* 
nadhara  where  Vkana  means  a  curtain.  The  two  are  identical  J. 

•      X.    FOUR  HOOT  GODDESSES 

There  are  four  goddesses  of  Light  in  the  Vajrayana  pantheon.  They 
are  named  as  Suryahasta,  Dlpa,  Ratnolka  and  Taditkara  and  described 
in  the  Pancadaka  Mandala  of  the  Nispannayogavall.  Collectively,  they 
are  conceived  as  nude,  and  as  violent  in  appearance  with  garland  of 
skulls  and  severed  heads.  They  dance  on  a  corpse  in  the  Pratyalidha 
attitude  and  hold  their  special  marks  of  recognition  in  their  hands. 
They  are  described  below  in  the  order  in  which  they  appear  in  the 
Pancadaka  Mandala. 

1.  Clark  :  TLP,  II,  p,  108 

2.  Clark  :  TLP,  II.  p.  108 


318  BUDDHIST  ICONOGRAPHY 

1.     SURYAHASTA 

Colour — White  Arms — Two 

Symbol — Sun 

Suryahasta  is  the  first  deity  in  the  series  of  four  goddesses  of  Light 
and  her  form  is  described  in  the  following  words  : 

"Suryahasta  sita  suryamandaladhara".  NSP,  p.  76 

''Suryahasta  is  of  white  colour  and  she  holds  in  her  hands  the  disc  of 
the  Sun". 

One  statuette  of  the  goddess  is  found  in  the  Chinese  collection 
under  the  tide  of  Suryadhara.  The  two  are  identical  l. 

2.     DIP  A 

Colour — Blue  Arms — Two 

Symbol— Light  stick 

The  second  Light  deity  is  called  Dipa.  Her  form  is  described  as  under: 
"Dipa  mla  dipayastibbrt."'  NSP,  p.  76 

"Dipa  is  blue  in  colour  and  holds  in  her  hands  the  light  stick". 
A  statuette  of  this  goddess  occurs  in  the  Chinese  collection.  2.   This 
Chinese  statuette  is  illustrated  in  Fig.  213, 

3.     RATNOLKA 
Colour — Yellow  Arms — two 

Symbol — Jewel 

The  third  in  the  series  of  four  goddesses  of  Light  is  called  Ratnolka. 
She  is  described  as  under  : 

"Ratnolka  pita  ratnadhara".  NSP,  p*  76 

"Ratnolka  is  yellow  in  colour  and  holds  the  jewel  in  her  hands*'. 

She  is  represented  in  the  Chinese  collection  under  the  name  of 
Ulkadhara.  This  statuette  is  illustrated  in  Fig.  214- 

4.    TADITKARA 
Colour — Green  Arms — Two 

Symbol — Lightening 

The  fourth  and  the  last  in  the  series  of  four  goddesses  of  Light  is 
called  Taditkara  (Lightening  Bearer).  Her  form  is  described  in  the 
following  words  : 

'Taditkara  harita  vidyullatadhara".  __ 

1.  Clark  :  TLP,  II,  p.     88, 

2.  Clark  :  TUMI,  pp.    67*90. 


COLLECTIVE  DEITIES  319 

'Taditkara  is  green  in  colour  and  holds  in  her  hands  the  creeper- 
like  lightening''. 

A  statuette  of  this  goddess  occurs  in  the  Chinese  collection  under 
the  title  of  Vidyuddhara.  The  image  answers  the  description  in  all 
details  The  two  are  therefore  identical  !. 

XL     FOUR  ANIMAL-FACED  GODDESSES- 

There  is  a  set  of  four  very  interesting  deities  described  in  the 
Nispannayogavall ;  they  all  have  animal  faces  and  have  several  forms. 
They  are  given  each  a  different  direction  in  the  Mandala.  Their  names 
are  :  Hayasya,  Sukarasya,  Svanasya,  and  Simhasya,  according  to  the 
animal  face  they  bear.  To  this  number,  in  the  Kalacakra  Mandala,  four 
more  deities  with  birds  f?ces  are  added  for  the  intermediate  corners. 
These  birds  deities  are  named  as  Kakasya  (crow-faced),  Grdhrasya 
(vultur effaced),  Garudasya  (Garuda-faced)  and  Ulukasya  (owl-faced). 
All  these  are  described  in  the  text  as  violent  in  appearance,  nude, 
dancing  on  a  corpse,  and  wearing  garlands  of  severed  heads.  They  carry 
in  their  hands  the  Kartri  (chopper)  and  the  Kapala  (skull-cup).  A 
Khatvahga  (magic  stick)  hangs  from  their  shoulders.  They  are  some- 
times two-armed  and  at  others  four-armed.  When  four  armed,  the  four 
chief  deities  are  represented  like  the  goddesses  of  the  VajiankusI 
group.  With  regard  to  the  face,  it  may  be  noted  that  the  principal 
face  is  either  human  or  of  an  animal.  When  it  is  human,  the 
animal  face  is  shown  over  the  head  or  on  the  crown.  Normally,  there 
are  four  goddesses  in  this  group,  but  the  series  of  goddesses  found 
only  in  the  Kalacakra  Mandala  are  without  adequate  description.  The 
group  of  four  goddesses  of  the  Nairatma  Mandala  is  here  described. 
It  may  be  noted  that  their  images  are  also  popular  in  the  Chinese  collec- 
tion of  Peiping,  although  a  few  are  available  in  India  also. 

1.    HAYASYA 

Colour—  Whitish  Blu£  Arms — Two 

Symbol — Horse-face 

The  first  in  the  series  of  goddesses  with  animal  faces  is  Hayasya 
(horse-faced)  and  her  form  is  described  in  the  Nairatma  Mandala  in  the 
following  words  : 

'Turvadvare  Hayasya  sitamla"      •  NSP,  p.  16 

"On  the  Eastern  gate  there  is  Hayasya  of  whitish-blue  colour". 
I.    Clark  :  TLP,  II,  p.  88.  ~  ~~ 


320  BUDDHIST  ICONOGRAPHY 

Like  all  other  deities  of  the  group  she  displays  in  her  two  hands  the 
Kami  and  the  Kapala. 

In  the  Hevajra  Mandala  of  the  Nispannayogavali  (p.  15)  she  is  des- 
cribed as  four-armed  and  four- faced  and  as  similar  in  appearance  to 
Vajrankusl. 

She  is  not  represented  in  the  Chinese  collection, 

2.    SUKARASYA 

Colour — Yellowish  Blue  Arms  — Two 

Symbol — Sow-face 

The  second  in  the  series  of  four  goddesses  with  animal  faces  is 
Sukarasya  (sow-faced)  and  her  form  is  described  in  the  Nairatma 
Mandala  thus  : 

"Daksine  Sukarasya  pltanila".  NSP,  p.  16 

"On  the  South  there  is  Sukarasya  with  yellowish-blue  colour" 

Like  all  other  goddesses  of  the  group,  she  also  holds  the  Kartri  in 
the  right  hand  and  the  Kapala  in  the  left. 

She  is  also  described  as  four-armed  and  four-faced,  and  as  similar  in 
appearance  to  VajrapasI  ] . 

She  is  not  represented  in  the  Chinese  collection. 

3.    SVANASYA 

Colour — Reddish  Blue  Arms — Two 

Symbol — Dog- face 

The  third  goddess  in  the  series  of  four  goddesses  with  animal  faces 
is  called  Svanasya  (dog-faced)  and  is  described  in  the  Nairatma  Mandala 
as  : 

<fcPascime  Svanasya  raktanlla"    '  NSP,  p.  16 

"On  the  West  there  is  Svanasya  of  reddish-blue  colour0 
Like  all  other  goddesses  of  the  group  she  holds   the  Kartri  in   the 
right  hand  and  the  Kapala  in  the  left. 

In  the  Hevajra  Mandala  she  is  described  as  four*faced   and  four- 
armed  and  as  similar  in  appearance  to  Vajrasphota. 
She  is  not  represented  in  the  Chinese  collection. 

1.    A  remarkable  specimen  of  the  four-armed  variety  of  the  goddess  is  illustrated 
in  Gordon  r  ITL,  p.  80  under  the  title  of  Vajravarahl. 


'  COLLECTIVE  DEITIES  321 

4.    SIMHASYA 

Colour— Reddish  Blue  Arms— Two 

Sy  m  bol — Lioi>f a  ce 

The  fourth  and  the  last  deity  in  the  series  is  called  Simhasya  (lion- 
faced)  in  the  Nairatma  Mandala.  Her  form  is  described  thus  : 

"Uttare  Simhasya  raktanlla"  NSP,  p.  16 

"On  the  North  there  is  Simhasya  of  reddish  blue  colour". 

Like  all  other  deities  of  the  group  she  also  holds  the  Kartri  in  the 
right  hand  and  the  Kapala  in  the  left. 

She  is  described  in  the  Hevajra  Mandala  as  four-faced  and  four- 
armed,  and  as  similar  in  appearance  to  Vajraghanta. 

Under  the  title  of  Simhavaktra  she  appears  in  the  Chinese  collec- 
tion at  Peiping  l .  She  was  also  known  in  Tibet  *.  Figs,  215,  216  illus- 
trate a  very  artistic  specimen  of  Simhasya  with  human  face  with  the  face 
of  the  lion  overhead.  This  image  is  in  the  collection  of  Dr.  Moghe  of 
Khar  (Bombay). 

XII.    FOUR  DAKINI  GROUP 

Usually  in  this  group  of  goddesses  are  included  the  names  of  Dakini 
Lama,  Khandaroha  and  Rupim  who  are  widely  mentioned  in  the  Tantric 
works  of  rituals.  In  the  Sumbara  Mandala  of  the  Nispannayogavall 
their  names  are  mentioned  as  companion  deities  of  Sambara.  Again, 
in  the  Satcakravarti  Mandala  they  are  mentioned  as  companion  deities. 
But  their  forms  are  found  described  only  in  the  Sadhanamala.  Accord- 
ing to  this  authority  they  are  all  alike  in  appearance  holding  identical 
symbols.  Only  in  colour  they  differ.  In  the  Vajravarahi  Sadhana 
(No.  217)  they  are  described  as  follows  : 

^Pakml-Lama-Khandaroha-Rupimh  krsna-syama-rakta-gaurah.  Eta 
ekavaktrah  caturbhuja  vame  kapalakhatvafigakapalahastah  daksine 
damarukartrikah  trinetra  muktakesa  nagna  alidhasanasamsthita  panca- 
mudravibhusita  bhavayet."  Sadhanamala  p.  425 

"Dakim,  Lama,  Khandaroha  and  Rupim  are  of  blue,  green,  red  and 
white  colour  respectively.  They  are  one-faced  and  four-armed  and 
carry  in  their  left  hands  the  Kapala-marked  Khatvanga  and  the  Kapala, 
and  in  the  two  right  the  Damaru  and  the  knife.  They  are  three-eyed, 
have  dishevelled  hair,  stand  in  the  Alidha  attitude  and  are  decked  in 
the  five  bone  ornaments.  Thus  they  are  to  be  meditated  upon". 

1.  Clark  :TLP,  II,  p.  314. 

2.  Gordon :  II L,  p.    80  illustrates  a  two-armed  image  of    the  deity.     See  also 
Getty  :  GNB,  pp.  HO,  150. 

41 


322  BUDDHIST  ICONOGRAPHY 

Two  statuettes  of  Dakim  occur  in  the  Chinese  collection  *.  The 
names  of  three  others  do  not  find  mention  in  China.  In  Tibet,  Lama* 
dakim  belongs  to  this  group,  and  a  remarkable  and  perhaps  unique 
statuette  of  the  goddess  from  the  W.B.  Whitney  collection  in  the  Freer 
Gallery  of  Art  is  illustrated  in  the  Iconogrphy  of  Tibetan  Lamaism  2. 

Fig.  217  illustrates  the  Chinese  statuette  of  Dakim,  and  Fig*  218 
is  a  Nepalese  picture  of  Lama  Dakim. 


1.  Clark  :  TLP,  II,  p.  96,110 

2.  Gordon:  ITL,p.  81 


CHAPTER  Xli 

PHILOSOPHICAL   DEITIES 

In  the  Nispannayogavali  of  Abhyakara  Gupta  mention  is  made  of  a 
number  of  deities  who  are  designated  here,  for  the  sake  of  convenience, 
as  philosophical  deities.  In  Buddhism,  the  Twelve  Paramitas  are  consi- 
dered to  be  the  perfections  of  cardinal  virtues  which  entitle  one  to 
Buddhahood.  They  are  deified  in  human  form  with  colour,  and 
weapons.  Similar  is  the  case  with  the  others,  such  as  the  Twelve 
Vasitas  or  spritual  disciplines,  the  Twelve  Bhumis  or  the  successive 
spiritual  spheres,  the  Twelve  Dharims  or  sacred  chain  of  words,  the 
Four  Pratisamvits  or  the  four  branches  of  logical  analysis.  All  these 
belong  to  the  realm  of  philosophy  and  abstract  ideas  and,  therefore, 
they  are  brought  together  here  under  a  separate  chapter  as  a  matter 
of  logical  necessity. 

These  deities  are  rarely  represented.  Except  probably  Prajnapara- 
mita  and  some  of  the  Dharim  goddesses,  others  are  not  even  known 
in  art  or  sculpture.  But  their  statuettes  are  found  in  the  Chinese  collec* 
tion  at  Peiping,  and  it  is  therefore  necessary  to  indicate  their  forms 
from  original  Sanskrit  texts  so  that  the  statuettes  on  the  one  hand  and 
the  Sanskrit  texts  on  the  other  may  mutually  enlighten  each  other. 


In  Buddhism,  importance  is  given  to  the  Paramitas  or  perfections. 
These  are  certain  cardinal  human  virtues  carried  to  perfection  in  one 
birth.  It  is  said  that  Lord  Buddha  in  each  of  his  previous  births 
practised  one  or  another  of  the  virtues  and  carried  it  to  perfection, 
and  because  of  that  he  obtained  enlightenment  in  his  last  birth.  These 
Paramitas  are  usually  ten  in  number,  but  the  Vajrayanists  raised  the 
number  to  twelve.  In  Vajrayana  the  craze  for  deificatian  led  to  the 
conception  of  the  Twelve  Paramita  goddesses  in  human  form,  for  the 
purpose  of  worship.  One  of  the  Paramtta  deities,  Prajnaparamita  is 
the  most  important  and  popular  in  Buddhist  countries.  Prajnaparamita 
or  transacendental  intuition  was  taught  in  the  Prajnaparamita  scripture 
which  is  supposed  to  have  been  rescued  from  the  Nether  regions  by 
Nagarjuna.  In  the  Dharmadh§tuvagisvara  Mandalaofthe  Nispannayogavali 
an  account  of  the  iconography  of  rhe  Twelve  Paramita  deities  is  given, 


324  BUDDHIST  ICONOGRAPHY 

and  it  is  stated  briefly  here  in  the  same  order  as  found  in  the  Mandala. 
Such  a  description  of  all  the  Paramita  goddesses  cannot  be  met  with  in 
any  other  published  literature  on  Buddhism.  The  twelve  deities  collec- 
tively have  their  spiritual  father  in  Ratnasambhava.  They  are  widely 
represented  in  the  Chinese  collection  at  Peiping  which  seems  to  have 
been  profoundly  influenced  by  India  in  general,  and  the  Nispannayoga- 
vail  in  particular.  These  Paramita  deities  are  described  in  detail  in  the 
following  sections. 

1.  RATNAPARAMITA 

Colour  —  Red  Arms  —  Two 

Symbols  —  Moon  on  Lotus 

Ratnaparamita  heads  the  list  of  the  Paramita  deities  and  is  described 
as  : 

"  Ratnaparamita  rakta  padmasthacandramandaladhara" 

NSP,  p.  56 

"Ratnaparamita  is  red  in  colour  and  holds  the  disc  of  the  moon  on 
a  lotus  in  her  hand." 

According  to  a  statement  in  the  Mandala  all  the  deities  are  two- 
armed,  and  they  hold  in  the  right  hand  the  flag  marked  with  the  Cinta* 
mani  jewel,  and  in  che  left  their  special  symbols.  Prajnaparamita  is  an 
exception  since  she  has  two  more  hands.  The  passage  is  : 

"Dvadasaparamita  dvibhujah  savyena  Cintamanidhvajam  vamena 
svasvacihnadharah  Prajnaparamita  tvadhikakaradvaya." 

NSP,  p.  56 

"The  Twelve  Paramitas  are  two-armed  and  hold  in  the  right  hand 
the  flag  marked  with  the  Cintamani  jewel,  and  in  the  left  their  own 
symbols.  But  Prajnaparamita  has  two  more  hands." 

Ratnaparamita  thus  holds  in  the  right  hand  the  Cintamani  flag  and  in 
the  left  the  moon's  disc  on  a  lotus.  She  is  not  represented  in  the 
Chinese  collection, 

2,  DANAPARAMITA 
Colour—  Whitish  Red  Arms  —  Two 

Symbol  —  Ears  of  Corn 

Danaparamita  is  second  in  the  series  of  Twelve  Paramita  goddesses 
and  has  been  described  as  : 


4  'Danaparamita  skaraktavarna  nanadhanyamanjarihasta." 

T  ''        ^^  NSP,  p.  56 


PHILOSOPHICAL  DEITIES  325 

"Danaparamita  is  whitish  red  in  colour  and  holds  in  her  left  hand 
various  kinds  of  ears  of  corn." 

In  the  right  she  displays  the  Cintamani  banner.  Her  statue  is  found 
in  China  l. 

3.    SILAPARAMITA 

Colour— -White  Arms — Two 

Symbol — Flowery  Discus 

Sila'paramita  is  the  third  in  the  series  of  Paramita  goddesses  and  her 
form  has  been  described  thus  : 

"Silaparamita  sveta  sapallavagaurakusumacakradhara". 

NSP,  p.  56 

"Silaparamita  is  white  in  colour  and  holds  in  her  left  hand  the  dis- 
cus made  of  white  flowers  and  leaves  " 

The  right  hand  holds  the  Cintamani  banner  as  usual.  A  statuette 
of  this  deity  occurs  in  China  ~\ 

4,  KSANTIPARAMITA 
Colour — Yellow  Arms — Two 

Symbol — White  Lotus 

Ksantiparamita  is  the  fourth  in  the  series  of  Paramita  goddesses 
and  her  form  has  been  described  thus  : 

"Ksantiparamita  pita  sitabjadhara  " 

* 'Ksantiparamita  is  of  yellow  colour  and  holds  in  her  left  hand 
the  white  lotus." 

Her  right  hand  as  usual  holds  the  Cintamani  banner,  A  statue  of 
this  deity  is  to  be  found  in  China  -\ 

5.  VlRYAPARAMITA 
Colour — Green  Arms — Two 

Symbol — Blue  Lotus 

Viryaparamita  is  the  fifth  Paramita  goddess  and  her  form  has  been 
described  thus  : 

"Viryaparamita  marakatavarna  mlotpaladhara",          NSP,  p.  56 
*' Viryaparamita  is  of  the  colour  of  emerald  and  holds  in  her   left 
hand  the  blue  lotus." 

"1.    Clark  :  TLP,  II,  p.  120 

2.  Clark:  TLP,  II,  p.  !20 

3.  Clark  :  TLP,  II,  p.  120 


326  BUDDHIST  ICONOGRAPHY 

She  holds  the  Cintamani  banner  as  usual.  A  statue  of  this  deity  is 
found  in  China  l. 

6.  DHYANAPARAMITA 
Colour — Sky  Colour  Arms — Two 

Symbol— White  Lotus 

The  sixth  Paramita  goddess  in  the  series  is  Dhyanaparamita  whose 
form  is  described  as  under  : 

"Dhyanaparamita  gaganasyama  sitabjahasta."  NSP,  p.  56 

" Dhyanaparamita  is  of  sky  colour  and  holds  in  her  left  hand  the 
white  lotus  " 

The  right  hand  as  usual  carries  the  Cintamani  banner.  A  statuette 
ot  this  goddess  is  found  in  China  a.  Fig.  219  illustrates  this  Chinese 
specimen. 

7.  PRAJNAPARAMITA 
Colour — Yellow  Arms — Four 

Symbol — Manuscript  on  Lotus 

The  seventh  goddess  in  the  series  is  the  famous  deity  Prajnapara- 
mita. As  the  embodiment  of  the  Prajnaparamita  literature,  she  has 
been  dealt  with  in  detail  in  a  previous  chapter.  Here  she  will  be  des- 
cribed as  an  embodiment  of  transcendental  intuition  and  as  part  of 
a  collection  of  deities  in  a  group.  In  the  Nispannayogavall  her  form 
has  been  described  as  : 

'Trajnaparamita  kamaniyakanakakantih  padmastha-Prajnaparamita- 
pustakadhara  karadvayena  dhrta-Dharmacakramudra*\  NSP,  p.  65. 

"Prajnaparamita  is  of  delightful  yellow  colour-  In  her  left  hand 
she  holds  the  Prajnaparamita  book  on  lotus.  The  two  principal  hands 
display  the  Dharmacakra  mudra". 

The  right  hand  as  usual  holds  the  Chintamani  banner. 

This  goddess  has  been  treated  in  a  previous  chapter,  and  her  statues 
are  found  in  several  places.  She  is  represented  also  in  the  Chinese 
collection  at  Peiping  6 . 

1  Clark  :  TLP,  II,  p.  127. 

2.  Clark  :  TLP,  II,  p.  127 

3.  Clark  :  TIP,  II,  pp.  208,  290. 


PHILOSOPHICAL  DEITIES  327 

8.    UPAYAPARAMITA 

Colour — Green  Arms — Two 

Symbol — Vajra  on  Lotus 

The  eighth  goddess  in  the  series  is    Upayaparamita  who   has   been 
described  in  the  Nispannayogavali  thus  : 

"Upayaparamita  priyahgusyama  pitapadmasthavajrabhrt." 

NSP,  p.  16 

"Upayaparamita  is  green  like  the  Priyahgu  flower  and   holds  in   her 
left  hand  the  Vajra  on  a  yellow  lotus". 

The  right  hand  carries  the  Cintamani  banner  as  usual.     Her  statue  is 
found  in  China  l . 

9.    PRANlDHANAPARAMIlA 
Colour— Blue  Arms    Two 

Symbol — Sword  an  Lotus. 

Pranidhanaparamita  is  the  ninth  in  the  series  of  the  Paramita  group 
of  goddesses,  and  her  form  has  been  described  as  under  : 

"Pranidhanaparamita  nilotpalavarna  nllotpalasthakhadgadhara". 

NSP,  p.  56 

4 'Pranidhanaparamita  is  of  the  colour  of   the   blue  lotus,   and   she 
holds  in  her  left  hand  the  sword  on  a  blue  lotus". 

The  right  hand  as  usual  displays  the  Cintamani  banner.  Her  statuette 
is  found  in  China  2,     Fig.  220  illustrates  this  Chinese  statuette. 

10.    BALAPARAM1TA 

Colour— Red  Arms — Two 

Symbol — Manuscript 

Balaparamita  is  the  tenth  goddess  of  the   Paramita    group  and  her 
form  has  been  described  thus  : 

"Balaparamita  rakta  Prajnaparamitapustakadhara".       NSP,  p.  56 
"Balaparamita  is  red  in  colour  and  holds  the   book  Prajnaparamita 
in  her  left  hand1'. 

The  right  hand  as  usual  holds  the  Cintamani  banner.    Her  statue 
is  found  in  China  3. 

1.  Clark  :TLP,  II,  p.  117.    She  is  kno.vn  here   by  the    name  of  Upayakaulalya 
Paramita. 

2.  Clark  :  TUP,  II,  p.  117. 

3*    Clark  :  TLP,  II,  pp.  1 96, 3 1 1 . 


328  BUDDHIST  ICONOGRAPHY 

11.    JNANAPARAMITA 

Colour— White  Arms— Two 

Symbol— Bodhi  Tree 

"Jnanaparamita  is  the  eleventh  in  the  series  of  the  Paramita  goddes* 
ses,  and  her  form  has  been  described  as  :  u-  \  r  ?  ( 

"Jnanaparamita  subhra  nanaratnaphalalankrta'Bodhivrksadhara.-* 

*NSP,  p.  56 

"Jnanaparamita  is  white  in  colour  and  holds  in  her  left  hand  the 
Bodhi  tree  which  is  adorned  with  various  kinds  of  jewels  and  fruits"," 

The  right  hand  displays  the  Cintamani  .^banner  as  usual.  A  statue 
of  this  goddess  is  found  in  China  1 .  v  <  ^ , 

12.    VAJRAKARMAPARAMITA 

Colour — Variegated  Arms — Two 

Symbol — Visvavajra  on  Lotus 

Vajrakarmaparamita  is  the  twelfth  and  the  last  of  the  group  of 
Paramita  goddesses  and  her  form  has  been  described  thus  in  the 
Dharmadhatuvagisvara  Mandala  : 

" Vajrakarmaparamita  visvavarna  nilotpalastha-visvavajradhara'\ 

NSP,  p.  56 

"Vajrakarmaparamita  is  of  variegated  colour  and  holds  in  her  left 
hand  the  Visvavajra  (double  thunderbolt)  on  a  blue  lotus' '. 

The  right  hand  as  usual  holds  the  Cintamani  banner. 

(II)    TWELVE  VA&TA  GODDESSES 

The  Vasitas  according  to  Buddhism,  are  the  controls  or  disciplines 
which  lead  to  the  spiritual  regeneration  of  its  followers.  The  Vajra- 
yanists  recognized  twelve  Vasitas,  each  with  a  special  name  and  con- 
ceived them  in  the  form  of  deities  with  heads-  arms,  weapons  and 
special  symbols.  These  Vasitas  are  collectively  taken  to  be  the  3piri' 
tual  daughters  of  the  Dhyani  Buddha  Amitabha.  Below  is  given  a 
description  of  the  twelve  Vasita  goddesses  in  the  same  order  in  which 
they  appear  in  the  Dharmadhatuvagisvara  Mandala  of  tKe  Nispahna* 
yogavall.  The  description  of  the  Vasita  goddesses  is  not  found  in 
the  existing  original  literature  and  thus  it  is  of  unusual  interest.  Their 
iconographjc  interest  becomes  all  the  more  attractive  since  in  Chkia 
there  are  statuettes  in  metal  which  correctly  represent  the  Vasita 


1.    Clark  :  TLP,  II,  p.  121 


PHILOSOPHICAL  DEITIES  329 

goddesses.  Statues  of  these  are  not  found  anywhere  in  India,  but 
their  statuettes  in  the  Chinese  collection  of  Buddhist  deities  at  Peiping 
are  illustrated  in  the  Two  Lamaistic  Pantheons  of  W.  E.  Clark. 

i.  AYURVA£ITA 

Colour — Whitish  Red  Arms— Two 

Symbol— Image  of  Buddha 

The  twelve  Vasita  goddesses  are  described  collectively  as  two-armed, 
holding  in  their  right  hands  the  lotus  and  in  the  left  proudly  bearing 
their  special  symbols,  (cf.  DvadasVvasita  dvibhuja  daksinenambhoja- 
bhrto  vamena  sagarvam  svasvacihnadharah,  op.  cit  p.  56).  Ayurvasita 
is  the  first  goddess  of  the  series  and  her  form  has  been  described 
thus  : 

''Ayurvasita  sitaraktavarna  padmaragamanisthasamadhimudra' 
Amitayur-Buddhabimbadhara."  NSP,  p,  56 

"Ayurvasita  is  whitish  red  in  colour  and  holds  in  her  left  hand 
the  image  of  the  Buddha  Amita>us  in  the  Samadhi  mudra  on  the 
Padmaraga  jewel  . 

The  right  hand  displays  the  lotus  as  in  all  other  Vasita  deities. 
Her  statue  is  found  in  China  ] . 

2.    CITTAVASITA 

Colour — White  Arms — Two 

Sym  bol — Vajra 

The  second  goddess  in  the  series  is  Cittavasita,  who  has  been 
described  as  : 

"Cittavasua  sita  raktapancasucikavajradhara"  NSP,  p.  56 

"Cittavasita  is  white  in  colour  and  holds  in  her  left  hand  the  red 
Vajra  with  five  thongs. 

The  right  hand  as  usual  holds  the  lotus.  Her  image  is  found  in 
China  *. 

3.    PARISKARAVA&TA 

Colour— Yellow  Arms — Two 

Symbol— -Cintamani  Banner 

The  third  in  the  series  of  Vasita  goddesses  is  Pariskaravasita  who 
is  described  in  the  Dharmadhatuvaglsvara  Mandala  in  the  following 
words  : 

"Pariskaravasita  pita  Cintamanidhvajadhara".  NSP,  p.  56 


1.  Clark  :  TLP,  II,  p.  136 

2.  Clark  :  TLP>  II,  p.  136 
42 


330  BUDDHIST  ICONOGRAPHY 

"Pariskaravasita  is  yellow  in  colour  and  holds  in  her  left  hand  the 
Cintamani  banner"* 

The  right  hand  displays  the  lotus  as  usual.    Her  statuette  is  found  in 
China  l. 

4.    KARMAVA&TA 

Colour — Green  Arms — two 

Symbol— Visvavajra 

The  fourth  in  the  series  of  Vasita  goddesses  is  Karmavasita  who  is 
described  in  the  Dharmadhatuvagisvara  Mandala  as  under  : 

"Karmavasita  harita  visvavajradhara"  NSP,  p.  56 

"Karmavasita  is  green  in  colour,  and  holds  in  her  left  hand  the 

Visvavajra  (double  crossed  thunderbolt). 

The  right  hand  displays  the  lotus  as  usual.     Her  statuette  is  found 

in  China  a. 

5,    UPAPATTI  VASITA 

Colour — Mixed  Arms — Two 

Symbol — Creepers 

The  fifth  goddess  in  the  Vasita  series  is  Upapattivasita  who  is  des- 
cribed in  the  text  as  follows  : 

"Upapattivasita  visvavarna  vividhavarnajatilatahasta." 

NSP,  p.  56 

"Upapattivasita  is  of  variegated  colour  and   holds  in  her  left  hand 
various  kinds  of  creepers  of  variegated  colour/' 

The  right  hand  displays  the  lotus    as  usual.    Her  statue  is  found 
in  China  •*.     Fig.  221  illustrates  this  Chinese  specimen. 

6.    RDDHIVA&TA 

Colour — Green  Arms — Two 

Symbol — Sun  and  Moon  on  Lotus 

The  sixth  goddess  in  the  Vasita  series  is  Rddhivasita  whose  form  is 
described  as  follows  : 

"Rddhivasita  nabhahsyama  padmastha-suryacandra^mandaladhara." 
^ NSP,  p.  57 

1.  Clark  :  TLP,  II,  p.  136  ~ 

2.  Clark;  TUP,  II,  p.  137 

3.  Clark  :  TLP,  II,  p.  133 


PHILOSOPHICAL  DEITIES  331 

"Rddhivasita  is  green  as  the  sky  and  holds  in  her  left  hand  the  discs 
of  the  sun  and  the  moon  on  a  lotus. 

The  right  hand  displays  the  lotus  as  usual.  Her  statue  is  found 
in  China  1.  Fig.  222  illustrates  this  Chinese  specimen. 

7.    ADHIMUKTIVA&TA 

Colour — White  Arms — Two 

Symbol — Priyangu  flower 

The  seventh  goddess  in  the  same  series  is  Adhimuktivasita  and  her 
form  is  described  in  the  text  as  follows  : 

"Adhimuktivasita  mrnalagaura  priyangukusumamanjarldhara/5 

NSP,  p.  57 

"Adhimuktivasita  is  white  like  the  stalk  of  a  lotus,  and  holds  in  her 
left  hand  the  buds  of  the  flowers  of  Priyangu*" 

The  right  hand  displays  the  lotus  as  usual.  She  is  not  represented  in 
the  Chinese  collection. 

8.    PRANIDHANAVA&TA 
Colour — Yellow  Arms — Two 

Symbol — Blue  Lotus 

The  eighth  goddess  in  the  series  is  Pranidhanavasita  whose  form  is 
described  in  the  following  words  : 

Pranidhanavasita  pita  nilotpala-hasta."  NSP,  p.  57 

"Pranidhanavasita  is  yellow  in  colour  and  holds  in  her  left  hand 
the  blue  lotus/' 

The  right  hand  displays  the  lotus  as  usual.  Her  statue  is  found  in 
China  2 

9.    JNANAVASITA 
Colour — Whitish  Blue  Arms — Two 

Symbol — Sword  on  Lotus 

Jnanavasita  is  the  ninth  in  the  series  of  Vasita  goddesses  and  her 
form  is  described  in  the  text  of  Nispannayogavall  as  follows  : 

"Jnanavasita  sita  nilotpalasthakhadgadhara."  NSP,  p.  57 

"Jnanavasita  is  whitish  blue  in  colour  and  holds  in  her  left  hand  the 
sword  on  a  blue  lotus." 

The  right  displays  the  lotus  as  usual.  Her  statue  is  found  in 
China3.  ^ 

1.  Clark;  TLP,  II,  p.  133 

2.  Clark  :  TLP,  II,  p.  134 

3.  Clark  :  TLP,  II,  p'.  137 


332  BUDDHIST  ICONOGRAPHY 

10.    DHARMAVA&TA 
Colour — White  Arms — Two 

Symbol — Bowl  on  Lotus 

The  tenth  goddess  in  the  Vasita  series  of  goddesses  is  Dharmavasita 
whose  form  is  described  in  the  text  as  under  : 

" Dharmavasita  sita  raktavarnapadmasthabhadraghatahasta." 

NSP,  p.  57 

"Dharmavasita  is  white  in  colour  and  holds  in  her  left  hand 
the  Bhadraghata  (auspicious  bowl)  on  a  lotus  of  red  colour/' 

The  right  hand  displays  the  lotus  -as  usual,  A  statue  of  this  goddess 
is  found  in  China  l . 

11.    TATHAT  A  VASITA 
Colour — White  Arms — Two 

Symbol — Bunch  of  Jewels 

The  eleventh  deity  in  the  group  of  Vasita  goddesses  is  Tathata 
whose  form  is  described  in  the  following  terms  : 

"Tathata  sveta  svetasubhrambhojabhrddaksinapanir*vamena  ratna- 
manjaridhara".  NSP,  p  57 

"Tathata  is  white  in  colour.  She  holds  in  her  right  hand  the  white 
lotus  and  in  the  left  the  bunch  of  jewels/' 

Her  statue  is  found  in  China  2. 

12.    BUDDHABODHIPRABHA-VASITA 

Colour — Yellow  Arms — Two 

Symbol — Discus  on  Banner. 

The  twelfth  and  the  last  goddess  in  the  series  of  Vasita  goddesses 
is  Buddhabodhiprabha,  and  her  form  is  described  in  the  Dharmadhatu* 
vaglsvara  Mandala  with  the  following  words  : 

"Buddhabodhiprabha  kanakabha  savyenapitapadmasthapancasuci' 
kavajradhara  vamena  Cintamanidhvajopari  cakradhara". 

NSP,  p.  57 

"Buddhabodhiprabha  is  of  yellow  colour.  She  holds  in  her  right 
hand  a  Vajra  with  five  thongs  on  a  yellow  lotus,  and  in  the  left  the 
discus  on  the  Cintamani  banner". 


1.  Clark  :TLP,  II,  p.  137 

2,  Clark  :  TLP,  II,  p.  107 


PHILOSOPHICAL  DEITIES  333 


(Hi)  TWELVE 

In  Buddhism  the  Bhumis  are  recognized  as  different  spiritual  spheres 
through  which  a  Bodhisattva  moves  in  his  quest  for  Buddhahood  and 
omniscience.  They  are  recognized  as  ten  in  number  to  which  the  Vajra- 
yana  added  two  to  make  it  twelve.  As  the  Bodhisattva  progresses  in  spi- 
ritual path,  he  develops  certain  special  qualities  which  entitle  him  to 
move  towards  the  higher  Bhumis.  They  are  arranged  one  upon  another 
in  a  regular  order  with  the  last  at  the  top  which  when  reached,  makes 
the  Bodhisattva  equal  to  a  Buddha  and  he  attains  omniscience. 

These  Bhumis  or  spiritual  spheres  also  received  the  attention  of 
Vajrayana,  and  in  no  time  they  were  deified,  and  were  given  different 
forms.  Statues  were  prepared  and  many  of  them  were  found  represen- 
ted in  China. 

These  twelve  Bhumis  are  now  describe^  in  the  same  order  as  given 
in  the  Dharmadhatuvagisvara  Mandala  of  the  Nispannayogavall,  They 
are  two-armed  and  hold  in  the  right  hand  the  Vajra  and  in  the  left 
their  own  weapons  or  signs.  (Dvadasabhumayo  dvibhuja  daksine 
vajradharinyo  vamena  svasvacihnadharah,  p.  55). 

1.    ADHIMUKTICARYA 

Colour  —  Red  Arms  —  Two 

Symbol  —  Red  Lotus 

The  first  of  the  twelve  heavens  is  the  Adhimukticarya  Bhumi  and  is 
described  in  the  following  words  in  the  Nispannayogavall  : 

"Adhimukticaryabhumih  padmarakta  raktapadmadhara", 

NSP,  p.  55 

"Adhimukticarya  Bhumi  is  of  the  colour  of  a  red  lotus,  and  holds 
in  her  left  hand  the  red  lotus'*. 

The  right  hand  as  usual  holds  the  Vajra  which  is  the  common  sign 
of  all  Bhumi  goddesses. 

She  is  not  represented  in  the  Chinese  collection  at  Peiping, 

2.    PRAMUDITA 

Colour  —  Red  Arms  —  Two 

Symbol  —  Jewel 

The  second  goddess  in  the  series  "of  Bhumi  deities  is  Pramudita. 
Her  form  is  described  in  the  following  words  : 

"Pramudita  rakta  Cintamanibhrt".  NSP,  p,  55 


334  BUDDHIST  ICONOGRAPHY 

"Pramudita  is  red  in  colour  and  holds  in  her  left  hand  the  Cinta^ 
mani  jewel". 

The  right  hand  displays  the  Vajra  which  is  the  common  sign. 
Her  statue  is  found  in  the  Chinese  collection  '. 

3.    VIMALA 

Colour—  White  Arms — Two 

Symbol — White  Lotus 

The  third  goddess   in   the   series   of    Bhumi   deities    is    known  as 
Vimala  and  hei  form  is  described  as  under  : 

"Vimala  sukla  sukla-kamaladhara".  NSP,  p.  55 

" Vimala  is  white  in  colour  and   holds  in  her  left  hand  the  white 
lotus0. 

The  right  holds  the  common  symbol,  the  Vajra. 
Her  statue  is  found  in  the  Chinese  collection  a. 

4.  PRABHAKARI 
Colour — Red  Arms— Two 

Symbol  -  Sun  on  Lotus 

The  fourth  goddess  in  the  series  of    Bhumi   deities  is    Prabhakari 
whose  form  is  described  in  the  following  words  : 

"Prabhakari  rakta  visvapadamasthasuryamandaladhara" 

MSP,  p.  55 

"Prabhakari  is  red  in  colour  and  holds  in  her  left  hand   the  disc   of 
the  sun  on  a  lotus*'. 

The  right  hand   shows  the   Vajra   or  the  common  symbol.    This 
goddess  is  represented  in  the  Chinese  collection  of  Peiping  3. 

5.  ARCISMATI 
Colour — Green  Arms — Two 

Symbol — Blue  Lotus 

The  fifth  goddess  in  the  series  of  Bhumi  deities  is  called  Arcismati 
and  her  form  is  described  in  the  Nispannayogavali  as  follows  : 

"Arcismati  marakatavarna  mlotpaladhara".  NSP,  p.  55 

1*    Clark  :  TLP,  II,  p.  123  "~~ 

I,    Clark  ;  TLP,  II,  p.  123 
3.    Ckrk:  TLP,  II,  p.  123 


PHILOSOPHICAL  DEITIES  335 

"Arcismati  is  of  the  colour  of   an  emerald  and  holds  in  her  left 
hand  the  blue  lotus". 

The  right  holds  the  common  symbol* 

She  is  not  represented  in  the  Chinese  collection. 

6,  SUDURJAYA 
Colour — Yellow  Arms — Two 

Symbol— Emerald 

The  sixth  goddess  in  the  series  of  Bhumi  deities  is  called   Sudurjaya 
and  her  form  is  described  as  under  : 

"Sudurjaya  pita  utsafigasthottanapanina  marakatamanidhara". 

"  NSP,  p.  55 

"Sudurjaya  is  yellow  in  colour  and  carries  an  emerald  on   her  open 
palm  on  the  lap" 

The  right  holds  the  common  symbol,  the  Vajra. 
She  is  not  represented  in  the  Chinese  collection. 

7.  ABHIMUKHI 

Colour — Yellow  Arms — Two 

Symbol — Manuscript 

The  seventh  goddess  in    the  series  is    called    Abhimukhi.     She  is 
described  as  follows  : 

"Abhimukhi  hemavarna  padmopari  Prajnaparamitapustakadhara''. 

NSP,  p.  55 

"Abhimukhi  is  of  the  colour  of  gold  and  holds  on  a  lotus  the  Prajna^ 
paramita  manuscript". 

The  right  hand  displays  the  common  symbol. 
A  statuette  of  this  goddess  is  found  in  China  !. 

8.    DURANGAMA 

Colour — Green  Arms — Two 

Symbol — Double  Vajra  on  Double  Lotus. 

The  eighth  in  the  series  of  Bhumi  goddesses  is  known  by  the  name 
of  Durafigama  and  is  described  as  follows  : 

"Durafigama  gaganasyama  visvapadmopari  visvavajradhara". 

NSP,  p.  55 

77 ClarkTrLP,  II,  p.  121 


336  BUDDHIST  ICONOGRAPHY 

"Durangama  is  green  like  the  sky  and  holds  in  her  left  hand  the 
Visvavajra  (double  thunderbolt)  on  a  Visvapadma  (double  conventional 
lotus). 

The  right  hand  displays  the  common  symbol. 

A  statuette  of  this  goddess  is  found  in  China  ] . 

9.    ACALA 

Colour— White  Arms — Two 

Symbol — Vajra  on  Lotus 

The  name  of  the  ninth  goddess  in  the  series  of  Bhumi  deities  is 
Acala  whose  form  is  described  thus  : 

"Acala  saraccandrabha  candrasthapancasucikavajrankitapahkajasya 
nalam  sagarvam  vibhrati",  NSP,  p.  52 

"Acala  is  of  the  colour  of  the  moon  in  autumn,  and  holds  with 
pride  in  her  left  hand  the  stalk  of  a  lotus  over  which  is  placed  the  five- 
thonged  Vajra  on  the  disc  of  the  moon". 

The  right  hand  displays  the  common  weapon,  the  Vajra. 
Her  statue  is  found  in  China  2 . 

10.     SADHUMATl 

Colour — White  Arms — Two 

Symbol — Sword  on  Lotus 

The  tenth  deity  in  the  series  of  Bhumi  goddesses  is  Sadhumatl. 
Her  form  is  described  thus  : 

"Sadhumatl  sita  khadgankitotpaladhara"  NSP,  p.  55 

"Sadhumati  is  white  in  colour  and  holds  in  her  left  hand  the  sword 
on  a  night  lotus'*. 

The  right  hand  holds  the  common  weapon,  the  Vajra. 

A  statuette  of  this  deity  is  found  in  China  8. 

11.    DHARMAMEGHA 

Colour — Blue  Arms — Two 

Symbol — Manuscript 

The  eleventh  goddess  in  the  series  of   Bhumi  deities  is  Dharma- 
megha  whose  form  is  described  in  the  following  words  : 
"Dharmamegha  dharmameghaparikalita-Prajnaparamitapustakadhara". 

NSP,  p.  55 


1.  Clark:  TLP,  II,  p.  118 

2.  Clark:  TLP,  II,  p.  118 

3.  Clark:  TLP,  II,  p.  118 


PHILOSOPHICAL  DEITIES  337 

"Dharmamegha  holds  in  her  left  hand  the  Prajnaparamita  manus- 
cript which  is  composed  of  the  clouds  of  Dharma". 

A  statuette  of  this  goddess  is  found  in  China  l.  Fig.  223  illustrates 
this  Chinese  specimen. 

1 2     S  AMANTAPRABH  A 

Colour — Red  A  tms — Two 

Symbol — Image  of  Amitabha 

The  twelfth  and  the  last  in  the  series  of  Bhumi  goddesses  is  Samanta- 
prabha.     Her  form  is  as  follows  : 

"Samantaprabha  madhyahnadityavarna  padmopari  samyaksambo- 
dhisucaka-Amitabha-Buddhabimbadhara".  NSP,  p.  56 

"Samantaprabha  is  of  the  colour  of  the  sun  at  noon,  and  holds  in 
her  left  hand  the  image  of  Amitabha  Buddha  which  indicates  Perfect 
Enlightenment". 

The  right  hand  displays  the  common  symbol,  the  Vajra. 
A  statue  of  this  goddess  is  found  in  China  -. 


(iv)  (TWELVE  DHARI^JS) 


The  Dharmadhatuvagisvara  Mandala  describes  another  set  of  interes* 
ting  deities,  twelve  in  number,  called  theDharims.  InTantric  Buddhism, 
there  is  a  class  of  literature  which  is  known  by  the  name  of  Dharanls, 
or  Dharinis,  and  in  the  Nepal  Durbar  Library  there  are  collections  of 
Dharam  works  called  Brhaddharamsangraha  *.  The  Dharanls  are 
mostly  unmeaning  strings  of  words  which  are  required  to  be  kept  in 
memory,  so  that  they  may  be  repeated  at  will  for  the  purpose  of  deve^ 
loping  psychic  powers.  The  Dharanls  sometimes  reveal  traces  of  a 
language  now  unknown.  Several  Dharanls  are  recorded  in  the  Sadhana- 
mala  4.  Nispannayogavali  spells  the  word  somewhat  differently  as 
DharinI  and  recognizes  a  group  of  Twelve  Dhannis.  In  the  process  of 
deification  these  Dharinis  also  became  deities  with  form,  colour  and 
symbols.  The  Dharinis  collectively  are  placed  in  the  family  of  the 
Dhyani  Buddha  Amoghasiddhi  of  green  colour. 

When  conceived  in  the  form  of  deities,  the  Dharinis  are  endowed 
with  one  face  and  two  arms.  They  all  hold  in  their  right  hand  the 
double  thunderbolt  or  the  Visvavajra,  while  in  the  left  they  carry  their 

1.  Clark:  TLP,  II,  p.  118.  ~ 

2.  Clark:  TLP,  II,  p.  118. 

3.  H.  P.  Sastri,  Nepal  Catalogue  Vol.  II.  p.  25 1  ff. 

4.  Sadhanas,  Nos.  21,  23,  41,   116,  147,  150.  216,  are  all  Dharanls. 

43 


338  BUDDHIST  ICONOGRAPHY 

own  special  symbols  1.  The  form,  colour,  and  special  symbols  of 
all  the  Dharim  deities  are  given  below  in  the  same  order  as  it  appears 
in  the  Nispannayogavali  under  the  Mandala  of  Dharmadhatuvaglsvara. 

1.     SUM  ATI 

Colour — Yellow  Arms — Two 

Symbol — Ears  of  Corn 

The  first  in  the  series  is  Sumati  whose  form  is  described   below  : 
"Sumati  pita  dhanyamanjarldhara".  NSP,  p.  57 

4 'Sumati  is  yellow  in  colour  and  holds  in  her   left   hand   the   ears   of 

corn"* 

The  right  holds  the  common  symbol,  the    Visvavajra*     She    is   not 

represented  in  the  Chinese  collection. 

2.     RATNOLKA 

Colour — Red  Arms — Two 

Symbol — Cintamani  Banner 

The  second  deity  in  the  series  of  Dharim  goddesses  is  Ratnolka 
whose  form  is  described  as  under  : 

''Ratnolka  rakta  Cintamanidhvajadhara'*.  NSP,  p.  57 

tlRatnolka  is  red  in  colour  and  in  her  left  hand  she  holds  the  Cinta- 
mani  banner". 

In  the  right  hand  she  holds  the  common  weapon,  the  Visvavajra. 
She  is  not  represented  in  the  Chinese  collection  unless  some  of  the 
deities  like  Ratnagni  or  Ratnarcis  is  a  mistranslation  in  Sanskrit  from 
Chinese  2« 

3.     USNISAVIJAYA 

Colour — White  Arms — Two 

Symbol — Jar  of  Moonstones. 

The  third  in  the  series  of  the  Dharim  goddesses  is  Usnisavijaya  who 
is  a  popular  deity  in  the  Buddhist  pantheon,  and  as  such,  has  already 
been  described  in  a  previous  chapter.  As  a  Dharim  goddess,  Usnisa- 
vijaya is  described  as  : 

"Usnisavijaya  sita  candrakantamani-kalabahasta".         NSP,  p*  57 

"Usnisavijaya  is  white  in  colour  and  holds  in  her  left  hand  a  jar 
full  of  Moonstones". 


1.  The  relevant  text  is  "Dvadasadharinyo  dvibhujah   savyena  visvavajram  vibhrana 
vameha  sagarvam  svasvacUmabhrtah.     NSP,  p.  57 

2.  Clark  :  TLP,  II,  pp.  245,  24o. 


PHILOSOPHICAL  DEITIES  339 

Her  right  hand  displays  the  Visvavajra,  as  usual.  She  is  known  to 
the  Chinese  collection  T . 

4.     MARl 

Colour — Reddish  White  Arms — Two 

Symbols — Needle  and  String 

The  fourth  deity  in  the  Dharim  series  of  goddesses  is  Man  who  is 
described  in  the  following  words  : 

"Marl  raktagauravarna  sasutrasucldhara."  NSP,  p.  57 

"Marl  is  reddish  white  in  colour  and  holds  in  her  left  hand  the 
needle  with  string/' 

The  right  hand  holds  the  common  weapon,  the  Visvavajra.  Man  is 
not  represented  in  the  Chinese  collection. 

5.  PARNASABARI 

Colour — Green  Arms — Two 

Symbol — Peacock's  Feathers 

Parnasabari  is  the  fifth  in  the  list  of  Dharim  deities  in  the  Nispan^ 
nayogavali,  and  her  form  is  described  therein  as  follows  : 

"Parnasabari  syama  mayurapicchadhara"'.  NSP,  p.  57 

"Parnasabari  is  green  in  colour  and  holds  in  her  left  hand  the 
peacock's  feathers/7 

The  right  hand  shows  the  common  weapon,  the  Viivavajra  She  is 
popular  in  all  Buddhist  countries  and  several  six-armed  forms  of  her 
have  already  been  noted  '*.  The  text  of  the  Dharim  is  given  in  the 
Sadhanamala  l.  Parnasabari  images  are  found  in  Tibet  and  China  <J  in 
fairly  large  numbers. 

6.    jANGULl 

Colour — White  Arms — Two 

Symbol — Flowers 

The  sixth  in  the  Dharim  series  of  goddesses  is  the  well-known 
deity  Jahgull  whose  iconography  has  been  dealt  with  earlier.  As  a 
Dharim  deity  her  form  is  as  follows  : 

"Jahgull  sukla  \dsapuspamanjaridhara."  NSP,  p.  57 

1.  Clark:  'ILP,  II,  p.  286 

2.  See  Supra 

3.  Sadhana  No.  150,  p  308. 

4.  A  Tibetan  specimen  of  the  six-armed  form  is  illustrated  in  Gordon  :  ITL,  p.  71  ; 
A  two-armed  form  is  illustrated  in  Clark  :  TLP,  II,  p.  267,  and  in  the  same  volume  two 
six-armed  specimens  are  shown  on  pp.  207,  287.    See  also  Getly  :  GNB,  pp.  134r  135. 


340  BUDDHIST  ICONOGRAPHY 

"Jafxguli  is  white  in  colour  and  holds  in  her  left  hand  buds  of 
poisonous  flowers." 

Her  right  hand  as  usual  holds  the  common  weapon,  the  Visvavajra. 
She  is  represented  in  the  Chinese  collection  and  her  statuettes  have  been 
noted  }.  The  text  of  the  Janguli  Dharam  is  given  in  the  Sadhanamala  2. 
Jahgull  Dharinl  is  said  to  be  effective  against  snake  poison. 

7.    ANANTAMUKHI 
Colour — Green  Arms — Two 

Symbol — Jar 

The  seventh  goddess  in  the  series  of  twelve  Dharim  deities  is  Anan* 
tamukhl  whose  form  is  described  in  the  following  words  : 

"Anantamukhi  priyangusyama  raktabjasthaksaya*mahanidhikalas* 
ahasta".  NSP,  p.  57 

"Anantamukhl  is  green  as  the  Priyangu  flower  and  holds  in  her  left 
hand  the  jar  full  of  inexhaustive  treasures,  on  the  red  lotus." 

The  right  hand  displays  the  common  symbol,  the  Visvavajra.  She 
is  not  represented  in  the  Chinese  collection. 

8.    CUNDA 

Colour —  White  Arms — Two 

Symbol — Rosary  with  Kamandalu 

The  eighth  deity  in  the  series  of  twelve  Dharim  goddesses  is  the 
well-known  Cunda  whose  iconography  and  antiquity  have  already  been 
dealt  with  in  detail  in  an  earlier  chapter.  As  a  Dharini  goddess  her  form 
is  described  in  the  following  words  : 

''Cunda  sukla  aksasutravalarnbitakamandaludhara''. 

NSP,  p.  57 

"Cunda  is  white  in  colour  and  holds  the  rosary  from  which  a 
Kamandalu  is  suspended  " 

The  right  hand  as  usual  shows  the  common  weapon,  the  Visvavajra. 

Cunda  is  popular  in  the  Chinese  collection,  and  several  of  her  statue- 
ttes are  found  there  3.  Cunda  is  also  popular  in  Tibet  *. 

1.  Clark:   TLP,  II,  pp.  204,  217 

2.  SadhanaNo.  118,  p.  247 

3.  Clark;  TLP.  II. pp. 222,  283,  284 

4.  The  Cunda  image  in  the  collection  of  the  late  W.  B.  Whitney  is  illustrated  in 
Gordon  :  ITL,  pp«  74.    It  is  a  four'armed  image.    See  also  Getty  :  GNB,  pp.  129,  130 


PHILOSOPHICAL  DEITIES  341 

9.    PRAJNAVARDHANl 

Colour — White  Arm  s — Two 

Symbol — Sword 

The  ninth  in  the  series  of  twelve  Dharim  goddesses  is  Prajnavardha- 
ni  whose  form  is  described  in  the  following  text : 

"Prajnavardham  sita  nllotpalakhadgadhara".  NSP,  p.  57 

"Prajnavardham  is   white  in    colour    and   holds  in  her  left  hand 
the  sword  on  a  blue  lotus". 

The    right    hand  as   usual    displays  the     common    weapon,  the 
Visvavajra. 

She  is  not  represented  in  the  Chinese  collection. 

10.    SARVAKARMAVARANAVISODHANI 
Colour — Green  Arms — Two 

Symbol — Vajra 

The  tenth  in  the  series  of  twelve  Dharim  goddesses  is  Sarvakarma^ 
varanavisodhani  whose  form  is  described  in  the  following  words  : 

"Sarvakarmavaranavisodham      harita      trisucikavajrahka*sitakamala~ 
dhara".  "  NSP,  p.  57 

"Sarvakarmavaranavisodhani   is  green  in   colour  and  holds   in   her 
left  hand  the  Vajra  with  three  thongs  on  a  lotus' '. 

The  right  hand  displays  the  common  weapon,  the  Visvavajra.     She 
is  not  represented  in  the  Chinese  collection. 

11.    AKSAYAJNANAKARANDA 

Colour — Red  Arms— Two 

Symbol — Basket 

The  eleventh  deity  in  the  series  of  twelve  Dharim  goddesses  is  Aksa- 
yajnanakaranda,  whose  form  is  described  in  the  following  words  : 

"Aksayajnanakaranda  rakta  ratnakarandadhara."  NSP,  p.  57 

"Aksayajnanakaranda  is  of  red  colour  and  holds  in   her  left  hand 
the  basket  full  of  jewels.*' 

The  right  displays  as  usual  the  common  weapon,  the  Visvavajra.  She 
is  not  represented  in  the  Chinese  collection. 


342  BUDDHIST  ICONOGRAPHY 

12.    SARVABUDDHADHARMA-KOSAVATI 
Colour — Yellow  Arms — Two 

Symbol — Trunk 

The  twelfth  and  the  last  deity  in  the  series  of  twelve  Dharim  goddes- 
ses is  Sarvabuddhadharma-KosavatI  whose  form  is  described  in  the 
following  text  : 

"Sarvabuddhadharmakosavatiplta  padmasthananaratnapetakadhara/' 

NSP,  p.  57 

''Sarvabuddhadharma-Kosavati  is  yellow  in  colour  and  holds  in 
her  left  hand  the  trunk  full  of  various  kinds  of  jewels  on  a  lotus". 

The  right  hand  displays  the  common  weapon,  the  Visvavajra*  She  is 
not  represented  in  the  Chinese  collection. 

(V)    FOUR  PRATISAMVITS 

In  Buddhism  Four  Pratisamvits  are  acknowledged  as  the  branches  of 
logical  analysis,  and  these  are  named  as  Dharma  (nature),  Artha  (ana- 
lysis), Nirukti  (etymological  analysis)  and  Pratibhana  (context).  These 
abstract  ideas  also  received  the  attention  of  the  Vajra>anists  and  were 
duly  deified  with  human  form,  colour,  weapon,  and  symbols.  In  a 
deified  form  these  four  Pratisamvits  are  found  described  in  the  Dharma- 
dhatuvagisvara  Mandala  of  the  Nispannayogavali.  These  are  described 
below  with  necessary  details  in  the  same  order  in  which  they  appear 
in  the  Mandala. 

1.    DHARMA  PRATISAMVIT 

Colour — Whitish  Red  Arms — Two 

Symbol — Goad  and  Noose 

The  first  in  the  series  of  Pratisamvit  deities  is  Dharma  Pratisamvit 
whose  form  is  described  in  the  text  as  follows  : 

1  Turvadvare  Dharma-Pratisamvit  sitarakta  vajrankusapasabhrd- 
bhujadvaya".  NSP,  p.  5?' 

"On  the  Eastern  gate  there  is  Dharma  Pratisamvit  of  whitish  red 
colour,  holding  in  her  two  hands  the  goad  and  the  noose  marked  with 
the  thunderbolt". 

A  statue  of  this  obscure  Buddhist  deity  is  found  in  the  Chinese 
collection  l. 


1.    Clark:  TLP,  II,  p.  134. 


PHILOSOPHICAL  DEITIES  343 

2.    ARTHA  PRATISAMVIT 
Colour— Green  Arms — Two 

Symbol — Noose 

The  second  goddess  in  the  series  of  four  Pratisamvit  deities  is  Artha 
Pratisamvit  whose  form  is  described  thus  in  the  text  : 

"Daksine  Arthapratisamvit  marakatavarna  savyetarabhujabhyarh 
ratnapasabhrt".  NSP,  p.  57 

"In  the  South,  there  is  Artha  Pratisamvit  of  the  colour  of  an 
emerald  and  holding  in  her  two  hands  the  jewel  and  the  noose. 

A  statuette  of  this  obscure  deity  is  found  in  the  Chinese  collec- 
tion ]. 

3.    N1RUKTI  PRATISAMVIT 

Colour — Red  Arms — Two 

Symbol — Chain 

The  third  in  the  series  of  four  goddesses  of  the  Pratisamvit  group 
is  Nirukti  Pratisamvit  whose  form  is  described  in  the  text  as  follows  : 

"Pascime  Nirukti'Pratisamvit  rakta  haddhapadmantasrfikhala- 
bhrdbhuiadvaya".  NSP,  p.  58 

"In  the  West  there  is  Nirkuti  Pratitamvit  of  red  colour,  holding  in 
her  two  hands  the  chain  from  which  a  lotus  is  suspended". 

A  statuette  of  this  obscure  deity  is  found  in  the  Chinese  collection 
of  Peipmg  2.  Fig.  224  illustrates  this  Chinese  specimen. 

4.    PRATIBHANA  PRATISAMVIT 
Colour — Green  Arms — Two 

Symbol— Bell 

The  fourth  and  the  last  goddess  in  the  series  of  Four  Pratisarhvit 
deities  of  the  Buddhist  pantheon  is  described  in  the  Dharmadhatuva* 
gisvara  Mandala  in  the  following  words  : 

*'Uttare  Pratibhanapratisarhvit  marakatasyama  trisucikavajrahkita- 
ghantavyagrakaradva>a".  NSP,  p,  58 

"On  the  North  there  is  Pratibhana  Pratisamvit  of  the  colour  of  an 
emerald  (green),  holding  in  her  two  hands  a  bell  marked  with  a  Vajra 
with  three  thongs" 

A  statuette  of  this  extremely  obscure  deity  is  found  in  the  Chinese 
collection  at  Peiping  \  Fig.  225  illustrates  this  Chinese  statuette. 

1.  Clark:  TLP,  II,  p   134 

2.  Clark  :  TLP,  II,  p.  134 

3.  Clark  :  TLP,  II,  p.  135 


CHAPTER  XIII 

HINDU  GODS  IN  VAJRAYANA 

It  is  not  a  fact  that  Hindu  gods  were  unknown  in  the  Buddhist 
pantheon  or  that  the  Buddhist  pantheon  wholly  consisted  of  Buddhist 
gods.  It  is  already  well-known  that  several  Hindu  gods  especially 
Sarasvatl  and  Ganapati  were  given  independent  forms  as  principal 
gods  in  the  Sadhanas,  besides  a  large  number  as  companion 
deities  or  as  Vahanas  or  vehicles  of  important  Buddhist  deities. 
They  were  also  given  humiliating  roles  to  be  trampled  upon  by 
angry  Buddhist  gods.  A  perusal  of  the  Nispannayogavali  and 
especially  the  Dharmadhatuvagisvara  Mandala  will  show  what  a 
large  number  of  Hindu  deities  was  incorporated  in  the  Mandala,  and 
how  this  large  number  was  tackled  intelligently  and  fitted  into  the 
scheme  of  the  Buddhist  Mandalas.  How  these  Hindu  gods  were 
classified  and  how  directions  and  colours  were  assigned  to  them,  and 
how  they  were  put  under  a  Dhyani  Buddha  family,  represent  a  study 
interesting  to  the  extreme.  It  is  necessary  to  make  a  brief  reference  to 
this  aspect  of  Buddhist  Iconography.  That  these  Hindu  deities  were 
fully  converted  to  Buddhist  Faith  is  also  evidenced  by  the  fact  that  a 
large  number  of  their  statuettes  is  actually  found  in  the  purely 
Buddhist  atmosphere  of  China  in  the  Chinese  collection  of  statuettes 
at  Peiping.  The  collection  although  exists  in  China,  its  spirit  is  per- 
fectly Indian,  as  image  after  image  follows  the  description  given  either 
in  the  Nispannayogavall  or  in  the  Sadhanamala. 

Several  series  of  Hindu  gods  are  found  in  the  Buddhist  pantheon 
and  they  are  described  below  under  appropriate  heads  with  relevant 
quotations. 

Amongst  the  Hindu  deities  incorporated  into  the  Buddhist  pantheon, 
three  deities  appear  to  be  of  great  importance.  These  are  Mahakala 
the  prototype  of  Siva  Mahadeva  with  the  Trisula  as  the  recognition 
symbol,  Ganapati  the  elephant-faced  god,  and  Sarasvatl  the  Goddess  of 
Learning  with  her  characteristic  Vina.  Separate  Sadhanas  are  assigned 
to  all  of  them,  and  even  independent  shrines  for  them  are  not  wanting 
in  the  Buddhist  countries  of  the  North. 

1.     MAHAKALA 

In  the  Sadhanamala  as  well  as  in  the  Nispannayogavall  there  are 
several  descriptions  of  the  ferocious  Hindu  god,  Mahakala.  He  has 


HINDU  GODS  IN  VAJRAYANA  345 

been  given  a  variety  of  forms  in  these  two  works.  He  may  have  one 
face  with  two,  four  or  six  arms,  or  eight  faces  with  sixteen  aims.  He 
is  one  of  the  many  terrible  deities  of  the  Buddhist  pantheon  with 
ornaments  of  snakes,  canine  teeth,  protruding  belly  and  garment  of 
tiger-skin.  The  different  forms  of  Mahakala  are  described  belou  . 

(I)    TWO-ARMED 

Colour — Blue  Arms — Two 

Symbols — Kartri  and  Kapala 

At  least  six  Sadhanas  in  the  Sadhanamala  describe  the  two-armed 
variety  of  Mahakala.  One  among  them  is  quoted  here. 

"Srl-Mahakalabhattarakam  dvibhujarh  ekamukhfeih  kr&navarnam 
trinayanam  mahajjvalam  kartrikapaladharinam  daksinavamabhujabh^am 
mundamalalahkrtorddhvapingalakesopari  pancakapaladharorh  damstra- 
bhimabhayanakam  bhujahgabharanayajnopavitarh  kharvaruparh  srava* 
drudhiramukharh  atmanam  jhatiti  mspadya..  ".  Sadhanamala,  p.  585. 

"The  worshipper  should  conceive  himself  as  Sri  Mahakala  Bhattara- 
ka  who  is  two-armed  and  one-faced  and  has  blue  colour.  He  is  three- 
eyed,  has  fiery  radiance,  and  carries  the  Kartri  and  the  Kapala  in  his 
right  and  left  hands  respecti vely.  He  bears  five  skulls  on  his  brown 
hair  which  rises  up  on  his  head  and  is  decorated  with  a  chain  of  severed 
heads.  He  looks  terrible  with  bare  fangs,  and  is  decked  in  ornaments 
of  serpents  and  a  sacred  thread  made  out  of  a  snake.  He  is  short  and 
from  his  mouth  trickles  forth  blood.  Thus  quickly  meditating...". 

Instead  of  the  Kartri,  Mahakala  carries  the  Trisula  in  his  right 
hand  in  some  cases.  Images  of  Mahakala  abound  in  Nepal  and  are  found 
in  large  numbers  in  Buddhist  temples,  monasteries  and  even  in  the 
streets.  Sometimes  the  head  only  is  represented.  Fig.  226  illustrates  one 
of  the  finest  specimens  of  Mahakala  beloniug  to  the  collection  of 
Pandit  Siddhiharsa  Vajracarya  of  Nepal.  Here  the  god  tramples  upon 
two  figures  representing  two  human  corpses  as  required  by  the  Sadhana. 
He  weilds  the  menacing  Kartri  in  the  right  hand  and  the  Kapala  full  of 
blood  in  the  left.  Images  of  Mahakala  are  also  found  in  abundance  in 
Tibet  '  and  China  *. 

1.  Gordon:  1TL,  p.  90  in  which  four  images  of  Mahakala  are  represented.    See 
also  Getty  :  GNB,  PL  XLIX  where  four  more  illustrations  are  available. 

2.  Clark  :  TLP,  II,  pp.  101,  299,  301  and  75 

44 


346  BUDDHIST  ICONOGRAPHY 

(II)  FOUR-ARMED 
Colour — Blue  Arms — Four 

Symbols — Kartri  and  Kapala,  Sword  and  Khatvahga 

When  four-armed  he  resembles  the  two-armed  one  in  all  details 
except  in  the  number  of  arms  and  the  symbols  he  displays  in  his 
hands*  Here  he  carries  the  Kartri  and  the  Kapala  in  the  first  or  the  prin- 
cipal pair  of  hands, and  the  sword  and  the  Khatvanga  in  the  second  pair. 

(III)  SIX-ARMED 
Colour — Blue  Arms — Six 

Symbols — r.  Kartri,  Rosary,  Damaru 
1.     Kapala,  Sula,  Vajrapasa 

When  six-armed  the  form  of  Mahakala  resembles  the  two-armed 
variety  already  described,  with  the  difference  that  here  he  has  six  arms 
carrying  six  different  symbols.  In  his  six  hands  he  exhibits  the  Kartri, 
the  rosary  and  the  Damaru  in  the  right  and  the  Kapala,  the  Sula  and 
the  Vajrapasa  in  the  left. 

(IV)    SIXTEEN-ARMED 

Colour — Blue  Arms — Sixteen 

Faces — Eight  Legs — Four 

When  sixteen-armed,  he  is  eight-faced  and  is  represented  in  yab-yum 
in  the  embrace  of  his  Sakti,  and  what  is  really  strange,  he  is  also  four- 
legged.  The  Sadhana  describes  his  form  in  the  following  words  : 

"Atmanam  Bhagavantam  sodasabhuja-Mahakalam  bhavayet  ;  asta- 
vadanam  caturvimsatinetram  catuscarnam  sodasabhujam  ;  daksinakaraih 
kartri-vajra-gajacarma-mudgara-trisula-khadga-yamadandah,  vamakaraih 
raktapurnakapala-gajacarma-ghanta-ahkusa-svetacamara-damaru-narasiro 
dadhanam  sesabhujabhyarh  Prajnalingitam  ;  kharvakrsnam  hahahihi* 
hehepuritamukham  maharaudrarh  trikayatmakam  panca-Buddhamu- 
kutinam  naramundamalabharanam  bhayasyapi  bhayankaram", 

Sadhanamala,  p.  598 

"The  worshipper  should  conceive  himself  as  sixteen-armed  Maha- 
kala with  eight  faces,  twenty-four  eyes,  four  legs,  and  sixteen  arms. 
He  carries  in  his  (seven)  right  hands  the  Kartri,  the  Vajra,  the  elephant- 
hide,  the  Mudgara,  the  Trisula,  the  sword  and  the  staff  of  Yama,  and  in 
the  (seven)  left  hands  the  Kapala  full  of  blood,  elephant-hide,  the  bell, 


HINDU  GODS  IN  VAJRAYANA  347 

the  goad,  the  white  chowrie,  the  Damaru  and  the  human  head.  The 
two  remaining  hands  are  engaged  in  embracing  the  Prajna.  He  is  short 
and  blue  in  complexion,  utters  laughing  sounds,  such  as  ha  ha,  hi  hi, 
he  he,  and  looks  terribly  tierce.  He  is  the  essence  of  the  Three  Kayas, 
bears  the  images  of  the  five  Dhyani  Buddhas  on  his  crown,  is  decked 
in  garlands  of  heads  as  ornaments,  and  is  more  awe-inspiring  than  Awe 
itself." 

The  Sadhana  further  adds  that  Mahakala  should  be  surrounded  by 
seven  goddesses,  three  in  the  three  cardinal  points,  (the  fourth  being 
occupied  by  his  own  bakti)  and  the  other  four  in  the  four  corners. 

To  the  East  is  Mahamaya,  consort  of  Mahesvara,  who  stands  in  the 
Alidha  attitude  and  rides  a  lion.  She  has  four  arms,  of  which  the  two 
left  hands  carry  the  Kapala  and  the  Damaru,  and  the  two  right  the  Kartri 
and  the  Mudgara.  She  is  blue  in  complexion,  has  dishevelled  hair, 
three  eyes  and  protruding  teeth. 

To  the  South  is  Yamaduti,  who  is  of  blue  complexion  and  has  four 
arms.  She  carries  in  her  two  right  hands  the  staff  of  lotus  stalk  and 
the  Kartri.  and  in  her  two  left  the  bowl  of  blood  and  the  fly^whisk.  She 
stands  in  the  Alidha  attitude  on  a  buffalo  and  has  dishevelled  hair. 

To  the  West  is  Kaladuti,  who  carries  in  her  two  left  hands  the 
Kapala  and  the  Cow's  head  and  in  the  two  right  the  Mudgara  and  the 
Trisula.  She  stands  in  the  Alidha  attitude  on  a  horse,  has  red  com- 
plexion and  dishevelled  hair. 

All  these  deities  are  terrible  in  appearance,  with  protruding  teeth 
and  ornaments  of  serpents. 

The  four  corners  are  occupied  by  the  following  goddesses.  Kalika 
in  the  SE  corner  is  blue  in  complexion,  has  two  arms  carrying  the 
Kapala  and  the  Kartri,  and  stands  on  a  corpse  in  the  Alidha  attitude. 
Carcika  in  the  SW  corner  has  red  complexion,  carries  the  Kartri  and 
the  Kapala  in  her  two  hands  and  resembles  Kalika  in  all  other  respects. 
Candesvan  in  the  NW  corner  has  yellow  complexion,  carries  in  her 
two  hands  the  grass  and  the  deer,  and  stands  in  the  Alidha  attitude  on  a 
corpse.  Kulisesvarl  in  the  NE  corner  has  white  complexion,  carries 
the  Vajra  and  the  staff,  stands  in  the  Alidha  attitude  on  a  corpse.  These 
four  deities  are  nude,  and  look  terrible  with  bare  fangs,  three  eyes  and 
dishevelled  hair. 

Surrounded  by  all  these  deities  Mahakala  should  be  meditated  upon 
as  trampling  upon  Vajrabhairava  in  the  form  of  a  corpse. 

Mahakala  is  a  ferocious  god  who  is  generally  worshipped  in  the 
Tantric  rite  of  Marana  and  for  the  destruction  of  enemies,  Mahakala 
was  also  regarded  as  a  terrible  spirit,  and  was  calculated  to  inspire  awe  in 


348  BUDDHIST  ICONOGRAPHY 

the  minds  of  those  Buddhists,  who  were  not  reverential  to  their  Gurus, 
and  did  not  care  much  for  the  Three  Jewels.  He  is  supposed  to  eat  these 
culprits  raw,  and  the  process  of  eating  has  been  minutely  described  in 
almost  all  the  Sadhanas.  The  Sadhanas  generally  contain  the  following 
verses  in  order  to  show  the  terrible  nature  of  Mahakala  t 

Acaryye  yah  sada  dvesi  kupito  Ratnatrayepi  yah    1 
Anekasattvavidhvamsl  Mahakalena  khadyate    II 
Cchedayet  svangamamsani  pivedrudhiradharaya    I 
Sirasi  vinivesyaiva  tilamatranca  karayet    II 

Sadhanamala,  p.  586 

uHe  who  hates  his  preceptor,  is  adversely  disposed  to  the  Three 
Jewels,  and  destroys  many  animals  is  eaten  up  raw  by  Mahakala. 

He,  (Mahakala)  cuts  his  flesh  to  pieces,  drinks  his  blood,  and  (after) 
entering  into  his  head  breaks  it  into  small  bits." 

2.    GANAPATI 
Colour — Red  Arms — Twelve 

Vahana — Mouse 
Asana — Dancing  in  Ardhaparyahka 

Only  one  Sadhana  in  the  Sadhanamala  describes  the  form  of  Gana* 
pati.  He  is  twelve-armed  and  one-faced  and  rides  his  favourite  Vahana, 
the  Mouse.  The  Dhyana  describes  him  in  the  following  terms  : 

"Bhaga  van  tarn  Ganapatirh  raktavarnam  jatamukutakirltinam  sarva- 
bharanabhusitam  dvadasabhujam  lambodaraikavadanam  ardhaparyanka- 
tandavam  trinetram  api  ekadantam  savyabhujesu  kuthara-sara-ahkusa- 
vajra-khadga-sulanca  ;  vamabhujesu  musala-capa-khatvahga  asrkkapala' 
phatkanca  raktapadme  musikopari  sthitam  iti1' 

Sadhanamala,  pp.  592-593 

"The  worshipper  should  concieve  himself  as  god  Ganapati  of  red 
complexion,  bearing  the  Jatamukuta,  decked  in  all  ornaments,  having 
twelve  arms,  a  protruding  belly  and  one  face.  He  stands  in  the  Ardha- 
paryahka in  a  dancing  attitude,  is  three-eyed  and  has  one  tusk  He 
carries  in  his  right  hands  the  Kuthara,  the  arrow,  the  goad,  the  Vajra, 
the  sword  and  the  Sula,  and  in  his  left  the  Musala,  the  bow,  the  Khat* 
vahga,  the  Kapala  full  of  blood,  the  Kapala  of  dried  meat  and  the 
Phatka.  He  rides  the  mouse  on  a  red  lotus." 

Fig.  227  is  an  Indian  image  of  the  four-armed  Ganapati  which  is 
described  later  in  this  chapter.  This  image  is  in  the  possession  of 
Dr.  Moghe  of  Khar,  Bombay.  Fig.  228  is  another  image  with  twelve 


HINDU  GODS  IN  VAJRAYANA  349 

arms  in  the  possession  of  the  Dowager  Maharani  Chimanabai  Gaekwad 
of  Baroda.    Both  the  pieces  are  Buddhist  in  character. 

Ganapati  images  are  also  noticed  in  China  l  and  in  painted  banners 
of  Tibet. 

3.  GANAPATIHRDAYA 
Asana — Dancing  Arms — Two 

Mudras — Abhaya  and  Varada 

Like  Ganapati  himself  Ganapatihrdaya  who  is  in  all  probability  is  his 
Sakti  or  female  counterpart,  cannot  be  easily  assigned  to  any  particular 
Dhyani  Buddha.  Her  form  is  described  in  the  Dharmakosasangraha  of 
Amrtananda  in  the  following  words  : 

"Ganapatihrdaya  ekamukha  dvibhuja  varada  abhaya  nrtyasana". 

Dharmakosasangraha,  Fol.  43 

"Ganapatihrdaya  is  one-faced,  two-armed,  exhibits  in  her  two  hands 
the  Varada  and  Abhaya  poses,  and  shows  the  dancing  attitude  ". 

Fig.  229  illustrates  a  miniature  in  the  possession  of  Dr.  W.  Y.  Evans^ 
Wentz. 

4.  SARASVATl 

Sarasvati  is  the  name  of  an  ancient  river  now  filled  up  by  the  sands 
of  Rajputana  on  the  banks  of  which  the  Vedic  Aryans  originally  settled 
after  their  migration  to  India.  As  the  banks  of  the  river  were  occupied 
by  the  Vedic  Aryans  who  composed  many  hymns,  and  were  the  scene  of 
many  sacrifices,  the  river  was,  later  on,  in  the  Pauranic  age  deified  as  the 
the  Goddess  of  Learning.  The  Buddhists  borrowed  this  Hindu  goddess, 
incorporated  her  bodily  into  their  pantheon  in  the  Tantric  age  when  she 
was  equally  popular  with  the  Hindus  and  the  Buddhists,  and  modified 
her  form  in  various  ways.  The  Buddhist  Sarasvati  may  have  one  face 
with  two  arms,  or  three  faces  and  six  arms.  When  two-armed,  she  has 
four  different  variations.  As  her  worship  is  widely  prevalent  among  the 
Buddhists  owing  to  the  belief  that  like  Manjusri  and  Pro  jnaparamita,  she 
confers  wisdom,  learning,  intelligence,  memory,  etc.  a  comparatively 
large  number  of  Sadhanas  is  assigned  to  her  in  the  Sadhanamala. 

(I)     MAHASARASVATl 

Symbols — r.  Varada  Mudra  ;  1.  Lotus. 
Colour— White 

She  has  white  complexion,  shows  the  Varada  pose  in  the  right  hand 
1.    Clark:  TLP,  II,  p.  153 


350  BUDDHIST  ICONOGRAPHY 

and  carries  the  white  lotus  in  the  left.    The  Dhyana  describes  her  form 
in  the  following  terms  : 

"  Bhagavatlm  Mahasarasvatlm  anuvicintay et  saradindukarakaram 
sitakamalopari  candramandalastham  ;  daksinakarena  varadam,  vamena 
sanalasitasarojadharam  smeramukhlm  atikarunamayam  svetacandanaku* 
sumavasanadharath  muktaharopasobhitahrdayam  nanaratnalankaravatlih 
dvadasavarsakrtim  muditakucamukuladanturorastatlm  sphuradanantaga- 
bhastivyuhavabhasitalokatrayam.''  Sadhanamala,  p.  329 

"The  worshipper  should  think  himself  as  goddess  Mahasarasvati, 
who  is  resplendent  like  the  autumn  moon,  rests  on  the  moon  over  the 
white  lotus,  shows  the  Varada  mudra  in  her  right  hand, and  carries  in  the 
left  the  white  lotus  with  its  stem.  She  "has  a  smiling  countenance,  is 
extremely  compassionate,  wears  garments  decorated  with  white  sandal 
flowers.  Her  bosom  is  decorated  with  the  pearl-necklace,  and  she  is 
decked  in  many  ornaments  ;  she  appears  a  maiden  of  twelve  years,  and 
her  bosom  is  uneven  with  half-developed  breasts  like  flower-buds  ; 
she  illumines  the  three  worlds  with  the  immeasurable  light  that  radiates 
from  her  body." 

This  is  the  general  appearance  of  Sarasvati,  and  all  the  other  varieties, 
unless  otherwise  stated,  are  identical  in  appearance  with  the  one  just 
described.  The  distinctive  feature  of  this  goddess  Mahasarasvati  is  that 
she  shows  like  the  ordinary  Taras  the  Varada  mudra  in  the  right  hand 
and  carries  the  lotus  in  the  left  (Fig.  230),  and  is  surrounded  by  four 
deities  identical  in  form  with  herself  Prajna  is  in  front  of  her,  Medha 
to  her  right,  Smrti  to  her  left,  and  Mati  in  the  west.  These  four  divi- 
nities may  also  accompany  other  varieties  of  Sarasvati.  As  the  Sadhana 
is  silent  about  the  particular  Asana,  she  may  be  represented  in  any 
attitude,  sitting  or  standing. 

Sarasvati  is  a  popular  goddess  both  in  Tibet  1  and  China  -  where  she 
is  widely  represented. 

(II)    VAJRAVINA  SARASVATI 
Colour— White  Symbol— Vina 

Vajravlna  Sarasvati  like  Mahasarasvati  is  also  white  in  complexion, 
peaceful  and  benign  in  appearance.  She  is  also  two*armed  but  the  dis- 
tinguishing feature  in  her  case  is  that  she  carries  in  her  two  hands  the 
Vina,  a  kind  of  stringed  musical  instrument,  and  plays  upon  it.  She 

1.  Gordon,  ITL,  pp.  72,  88  ;  Getty  :  GNB,  pp.  127,  128 

2.  Clark  :  TLP,  II,  pp.  173,  181 


HINDU  GODS  IN  VAJRAYANA  351 

may  also  be  represented  as  accompanied  by  the  four  divinities  as  in  the 
previous  case. 

Fig,  231  illustrates  her  statuette  at  Peiping. 

(iii)   VAJRA£ARADA 

Symbol — r.  Lotus  ;  1.  Book 

According  to  the  Dhyana  in  the  Sadhanamala  she  rests  upon  a  pure 
white  lotus,  and  a  crescent  decorates  her  crown  ;  she  is  three-eyed  and 
two-armed  and  carries  the  book  in  the  left  hand  and  the  lotus  in  the 
right.  The  accompanying  illustration  (Fig.  232)  shows  how  she  is  pictur^ 
ed  by  Nepalese  artists.  She  may,  however,  be  accompanied  by  the  four 
attendants,  Prajna  and  others.  As  the  Sadhana  is  silent  about  the 
Asana,  she  may  have  any  attitude.  The  Nalanda  image  (Fig.  233)  which 
has  been  identified  as  Kotisri  (?)  is  probably  a  stone  representation 
of  this  goddess.  Vajrasarada  here  sits  in  Bhadrasana,  as  do  her  compa- 
nions. All  the  figures  in  the  group  are  mutilated,  but  at  least  one 
among  them  carries  the  Utpala  and  the  book,  in  the  right  and  left 
hands  respectively. 

(iv)   ARYASARASVATI 

Symbol — Prajnaparamita  on  Lotus 

Arya  Sarasvati  is  another  variation  of  Sarasvati,  and  is  also  desig- 
nated Vajrasarasvati,  which  seems  to  be  the  common  name  of  Saras* 
vatl  of  the  Vajrayanists.  She  appears  a  maiden  of  sixteen,  is  in 
the  prime  of  youth,  has  white  complexion,  and  carries  in  the  left  hand 
the  stalk  of  a  lotus  on  which  rests  the  Prajnaparamiia  Book.  The 
Dhyana  is  silent  about  the  symbol  carried  in  the  right  hand,  which  may 
or  may  not  remain  empty.  The  Asana  also  is  not  mentioned  which 
shows  that  she  may  be  represented  in  any  attitude. 

Fig.  234  illustrates  a  Nepalese  drawing  of  Arya-Sarasvatl. 

iV)    VAJRASARASVATI 
Faces— Three  Arms— Six 

Asana — Pratyalldha 

The  name  Vajrasarasvati  is  given  to  this  goddess  in  order  to  distin- 
guish her  from  the  other  four  varieties  of  Sarasvati,  with  four  different 
names  given  in  the  Sadhanas.  It  has  already  been  said  that  Sarasvati 
has  a  form  with  three  faces  and  six  arms.  In  all  other  respects  her  form 
is  identical  with  that  of  Mahasarasvati.  The  difference  here  is  that  her 
hair  is  brown  and  rises  upwards,  and  she  stands  in  the  Pratyalldha 


352  BUDDHIST  ICONOGRAPHY 

attitude  on  the  red  lotus.  Three  Sadhanas  in  the  Sadhanamala  are 
assigned  to  her  worship,  and  according  to  these,  she  is  red  in  colour, 
with  the  right  and  left  faces  of  blue  and  white  colour  respectively* 
She  carries  in  her  three  right  hands  the  lotus  on  which  is  the  Prajna- 
paramita  Book,  the  sword  and  the  Kartri,  and  in  the  three  left  the 
Kapala  of  Brahma,  the  jewel  and  the  Cakra.  Instead  of  the  book  on 
lotus  and  Brahmakapala  she  may  also  hold  the  lotus  and  the  Kapala  only. 
Fig  235  illustrates  a  Nepalese  drawing  belonging  to  the  latter 
variety. 

5.    THE  EIGHT  DIKPALAS 

The  eight  Dikpalas  or  the  Lords  of  the  Eight  Quarters  are  described 
in  the  Dharmadhatuvagisvara  Mandala  and  other  places  in  the  Nispan* 
nayogavall.  They  are  the  Lords  or  rather  the  embodiments  of  the  four 
principal  directions  and  the  four  intermediate  corners,  and  resemble  the 
Yamantaka  group  of  deities  of  the  Buddhists.  Their  forms  are  described 
below  in  the  same  order  as  they  appear  in  the  Dharmadhatuvagisvara 
Mandala.  Here  only  one  typical  form  is  given,  although  there  are 
many  more,  even  with  their  female  counterparts. 

(I)     1NDRA 

Colour — Yellow  Arms — Two 

Vehicle — Elephant        Direction — East 

The  first  in  the  series  of  Eight  Hindu  gods  of  direction  is  Indra 
who  presides  over  the  Eastern  quarter.  His  form  is  described  as 
follows  : 

"Airavatarudhah  Indrah  pito  vajram  stanam  ca  dadhanah." 

NSP,  p.  61 

"Indra  (of  the  east)  rides  on  the  Airavata  elephant  and  is  yellow  in 
colour.  He  holds  in  his  two  hands  the  Vajra  and  the  breast  of  a 
woman." 

Under  the  name  of  Sakra  he  appears  in  the  Chinese  collection  ] . 
Fig.  236  illustrates  his  Peiping  image. 

(II)     YAMA 

Colour — Blue  Arms — Two 

Vehicle — Buffalo  Direction — South 

The  second  in  the  series  of  eight  deities  of  direction  is  called  Yama 
here  as  well  as  in  Hindu  scriptures.  Yama  is  described  in  the  following 
words  : 

"Yamyarh  Mahise  Yamah  krsno  yamadandasulabhrt." 

"  NSP,  p.  61 

1.    Clark  :  TLP,  II,  pp.  89,  178 


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HINDU  GODS  IN  VAJRAYANA  361 

"In  the  south,  there  is  Yama  riding  on  a  Buffalo.  He  is  blue  in 
colour  and  holds  in  his  two  hands  the  staff  of  death  and  the  Sula". 

Yama,  the  God  of  Death  is  fairly  popular  in  Tibet  where  his  images 
are  found  l . 

(III)  VARUNA 

Colour — White  Arms — Two 

Vehicle — Crocodile        Direction— West 

The  third  in  the  series  of  gods  of  direction  is  Varuna  whose  form  is 
described  in  the  text  as  follows  : 

"Varune  makare  Varunah  svetah  saptaphano  nagapasasankhabhrt." 

NSP,  p.  61 

"In  the  west  there  is  Varuna  riding  on  a  Crocodile.  He  is  white  in 
colour  and  has  seven  hoods.  He  holds  in  his  two  hands  the  noose  of 
snake  and  the  conch". 

His  statuettes  occur  in  the  Chinese  collection  under  the  title  of 
Varuna  (deva)  2. 

(IV)  KUBERA 

Colour — Yellow  Arms — Two 

Vehicle—Man  Direction— North 

The  fourth  deity  in  this  series  is  Kubera  of  the  North  and  his  form 
is  described  in  the  text  as  follows  : 

"Kauberyarii  nare  Kuberah  supltonkusagadadharah." 

NSP,  p.  61 

"In  the  north,  there  is  Kubera  riding  on  a  man.  He  is  of  deep 
yellow  colour  and  holds  in  his  two  hands  the  goad  and  the  Gada 
(mace)", 

Kubera  is  fairly  well  represented  in  Tibet  b. 

(V)     1SANA 

Colour — White  Arms— Two 

Vehicle — Bull  Direction — Isana 

The  fifth  in  the  series  of  gods  of  direction  is  Isana  the  Lord  of  the 
Isana  corner,  and  his  form  is  described  in  the  following  words  : 

Aisanyam  Vrsabharudhah  Isanah  trisulakapalapanih  jatardhacandra- 
dharah  sarpayajnopaviti  nllakanthah."  NSP,  p.  61 


1.  See  for  instance  Gordon  :  1TL,  p.  90  ;  also  Getty  :  GNB,  PL  XLVII,  a  and  b. 

2.  Clark  :  TLP,  II,  pp.  98,  178 

3.  See  for  instance  Gordon  :  1TL,  p.  90  also  Getty  :  GNB,  plate  LII,  b 

46 


362  BUDDHIST  ICONOGRAPHY 

"In  the  Isana  corner  there  is  isana  riding  on  a  Bull.  He  is  white  in 
colour  and  holds  in  his  two  hands  the  Trisula  (trident)  and  the  Kapala 
(skull'cup).  On  his  matted  hair  appears  the  half-moon,  on  his  body 
a  sacred  thread  of  serpent  and  his  throat  is  blue/' 

As  isana  he  is  not  represented  in  the  Chinese  collection. 

(VI)    AGNI 

Colour — Red  Arms — Two 

Vehicle— Goat  Direction — Agni 

The  sixth  in  the  series  of  direction  gods  is  Agni  the  Lord  of  the 
Agni  corner.  His  form  is  described  thus  : 

"Agneyyam  Cchage'gnih  raktah  sruvakamandaludharah." 

NSP,  p.  61 
"In  the  Agni  corner  there  is  Agni  riding  on  a  Goat.     He  is  red  in 

colour  and  holds  in  his  two  hands  the  Sruva  (ladle)  and  the  Kamandalu 
(water  bowl)." 

As  Agnideva  his  forms  occur  twice  in  the  Chinese  collection  l. 
Fig,  237  illustrates  one  of  the  two  statuettes  from  Peiping. 

(VII)  NAIRRTI 

Colour — Blue  Arms — Two 

Vehicle—Corpse          Direction — Nairrta  corner 

The  seventh  direction  god  is  called  by  the  name  of  Nairrti  who 
presides  over  the  Nairrta  corner.  His  form  is  described  in  the  text  as 
follows  : 

"Nairrtyarh  Raksasadhipo  Nairrtih  mlah  save  khadgakhetakabhrt." 

NSP,' p.  61 

"In  the  Nairrta  corner  there  is  the  Lord  of  the  Raksasas  (goblins) 
called  Nairrti  who  is  blue  in  colour  and  rides  on  a  corpse.  In  his  two 
hands  he  holds  the  sword  and  the  Khetaka  (stick)". 

He  is  not  represented  in  the  Chinese  collection. 

(VIII)  VAYU 

Colour — Blue  Arms — Two 

Vehicle— Deer  Direction— Vayu. 

The  eighth  and  the  last  deity  in  the  series  of  direction  gods  is  called 
Vayu  the  Lord  of  the  Vayu  corner.  His  form  is  described  thus  : 

"Vayavyam  mrge  Vayurmlo  vataputadharah".  NSP,  p.  61 

1.    Clark  :TLP,  II,  pp.  87,  65  ~ 


HINDU  GODS  IN  VAJRAYANA  363 

"In  the  Vayu  corner  there  is  Vayu  riding  on  a  Deer  and  blue  in 
colour.  In  his  two  hands  he  shows  the  Vataputa"  (empty  fold). 

Under  Vayudeva  his  statuette  occurs  in  the  Chinese  collection  l. 
Fig.  238  illustrates  this  image. 

6.    TEN  PRINCIPAL  HINDU  DEITIES 

In  the  Brahma  group  there  are  ten  deities.  They  are  popular  in 
India  and  their  statuettes  occur  in  the  Chinese  collection.  Their 
appearance  in  the  Buddhist  pantheon  is  almost  the  same  as  we  find 
them  described  in  the  Puranas  and  Tantric  works  of  the  Hindus.  The 
gods  of  the  Brahma  group  are  described  with  typical  examples  in  the 
same  order  as  they  appear  in  the  Dharmadhatuvagisvara  Mandala  of 
the  Nispannayogavali. 

(I)    BRAHMA 

Colour — Yellow  Arms — Four 

Vehicle— Swan 

The  first  among  the  ten  gods  of  this  list  is  Brahma.  His  form  is 
given  in  the  following  text : 

"Harhse  Brahma  pitascaturbhujah  aksasutrabjabhrt~savyetarabhyam 
krtanjalir-danda-kamandaludharah".  NSP,  p.  61 

"On  a  Swan  appears  Brahma  of  yellow  colour  with  four  arms. 
With  the  two  principal  hands  carrying  the  rosary  and  the  lotus,  he 
displays  the  Anjah  (clasped  hand)  mudra,  and  the  two  other  hands 
carry  the  staff  and  the  Kamandalu'*. 

Three  statuettes  of  his  occur  in  the  Chinese  collection  L\  Fig.  238 
illustrates  one  of  the  three. 

(II)    VISNU 
Arms— Four  Vehicle— Garuda 

The  second  god  in  this  series  of  ten  principal  gods  of  the  Hindu 
pantheon  is  called  Visnu.  His  form  is  described  as  under  : 

"Garude  Visnus-caturbhujah  cakrasankhabhrtsavyavamabhyam 
murdhni  krtanjalir-gadasarngadharah".  NSP,  p.  61 

"On  a  Garuda  there  is  Visnu  with  four  arms.  With  the  two  prin* 
cipal  hands  carrying  the  Cakra  and  the  Sahkha  he  displays  the  Anjali 
on  his  head.  With  the  two  others  he  holds  the  Gada  (mace)  and  the 
bow". 

Two  statuettes  of  Visnu  occur  in  the  Chinese  collection  3. 


1.  Clark  :  TLP,  II,  p.  181 

2.  Clark :  TLP,  II,  pp.  100,  156,  179 

3.  Clark  :  TLP,  II,  pp.  98,  156. 


364  BUDDHIST  ICONOGRAPHY 

(III)  MAHESVARA 
Colour — White  Arms — Four 

Vehicle-Bull 

The  third  in  this  series  of  ten  principal  gods  of  the  Hindus  is 
Mahesvara.  His  form  is  described  thus  : 

"Vrsabhe  Mahesvarah  sitah  sasikanakankitajatamukutas-catur 
bhujah  sirasi  krtanjalis-trisulakapalabhrt".  NSP,  p.  62 

"Mahesvara  sits  on  the  Bull,  and  is  white  in  colour.  His  crown  of 
matted  hair  is  beautified  by  the  moon.  He  is  four-armed.  With  the  two 
principal  hands  he  displays  the  Anjali  over  the  head,  and  with  the  two 
others  he  carries  the  Trisula  and  the  Kapala". 

One  statuette  of  Mahesvara  occurs  in  the  Chinese  collection  ]. 
It  is  illustrated  in  Fig.  240. 

(IV)  KARTTIKEYA 
Colour — Red  Arms — Six 
Symbol — Hen              Vehicle — Peacock 

The  fourth  god  in  this  series  is  Karttikeya  and  his  form  is  des* 
cribed  as  follows  : 

"Mayure  Karttikeyo  raktah  sanmukhah  savyabhyam  saktim  vajram 
ca  vamabhyarh  kukkutam  ca  dadhano  dvabhyam  krtanjalih," 

NSP,  p.  62 

* 'Karttikeya  rides  a  Peacock,  is  red  in  colour,  and  has  six  faces. 
With  the  two  right  hands  he  holds  the  Sakti  (javelin)  and  the  Vajra 
and  with  the  two  left  the  hen.  With  two  others  he  shows  the  Anjali". 

One  statuette  of  this  deity  is  found  in  the  Chinese  collection  2. 

(V)     VARAHI 

Colour — Blue  Arms — Four 

Symbol — Fish  Vehicle — Owl 

The  fifth  deity  in  this  series  is  a  goddess  and  is  called  here  as  Varahl. 
Her  form  is  described  as  follows  : 

"Varahl  krsna  pecakarudha  caturbhuja  savyavamabhyam  rohita- 
matsyakapaladhara  dvabhyam  krtanjalih".  NSP,  p.  62 

" Varahl  is  blue  in  colour.  She  rides  on  an  Owl  and  is  four'armed. 
In  one  pair  of  hands  she  shows  the  Rohita  fish  in  the  right  and  the 
Kapala  in  the  left.  Two  others  are  clasped  in  Anjali". 

Two  statuettes  of  the  deity  are  represented  in  the  Chinese  collec- 
tion *, 

1.  Clark  :  TLP,  II,  p.  156 

2.  Clark:  TLP,  II,  p.  157 

3.  Clark  :  TLP,  II,  pp.  72,  176 


HINDU  GODS  IN  VAJRAYANA  365 

(VI)  CAMUNDA 
Colour — Red  Arms — Four 

Veh  icle — Corpse 

The  sixth  deity  in  the  series  of  Hindu  gods  is  also  a  goddess  and  is 
known  by  the  name  of  Camunda.  Her  form  is  described  as  follows  : 

"Pretopari  Camunda  rakca  caturbhuja  kartrikapalabhrtsavyetara 
krtSnjali".  NSP,  p.  62 

"Camunda  rides  on  a  corpse  and  is  of  red  colour.  She  is  four- 
armed.  With  the  first  pair  of  hands  she  holds  the  Kartri  in  the  right 
and  the  Kapala  in  the  left.  In  the  second  she  exhibits  the  Anjali". 

One  statuette  of  this  goddess  occurs  in   the  Chinese   collection  *, 

(VII)  BHRNGI 

Colour — Blue  Arms — Four 

The  seventh  deity  in  this  series  is  Bhrhgi  whose  form  is  described 
in  the  Dharmadhatuvagisvara  Mandala  as  follows  : 

"Bhrhgi  krsriah  krsnaksasutrakamandaludharah  krtanjalih". 

NSP,  p.  62 

"Bhrhgi  is  blue  in  colour  and  he  holds  in  the  first  pair  of  hands 
the  blue  rosary  and  the  Kamandalu.  In  the  second  pair  the  Anjali  is 
shown'*. 

Bhrhgi  is  not  represented  in  the  Chinese  collection. 

(VIII)    GANAPATI 

Colour — White  Arms — Four 

Symbol — Elephant-face  Vehicle — Rat 

Ganapati  is  a  popular  deity  in  the  Buddhist  pantheon.  He  is  des- 
cribed several  times  in  the  Nispannayogavall,  and  as  already  stated  an 
independent  Sadhana  in  the  Sadhanamala  is  devoted  to  his  worship. 
In  the  Mandala  of  Dharmadhatuvagisvara  his  description  is  as  follows  : 

Musake  Ganapatih  sitah  karivaktrah  sarpayajnopaviti  caturbhujah 
savyabhyam  trisulaladdukau  vamabhyam  parasumulake  dadhanah. 

NSP,  p".  62 

"Ganapati  rides  on  a  Mouse  and  is  white  in  colour.  He  has  an 
elephant  face  and  a  snake  forms  his  sacred  thread.  He  is  four-armed. 
In  the  two  right  hands  he  carries  the'  Trisula  and  the  Ladduka  (sweet 
balls),  and  in  the  two  left  the  Parasu  (axe)  and  the  Mulaka  (radish). 

U    Cla^kl  TLP,  IT,  p.  176  " 


366  BUDDHIST  ICONOGRAPHY 

In  the  Bhutadamara  Mandala,  he  is  given  four  hands  carrying  the 
Mulaka  and  the  Parasu  in  the  two  right,  and  the  Trisula  and  the 
Kapala  in  the  two  left  J . 

One  statuette  of  his  is  recorded  in  the  Chinese  collection  2.  It  is 
illustrated  in  Fig.  241- 

(IX)    MAHAKALA 

Colour — Blue  Arms — Two 

Symbol — Trident 

The  ninth  in  this  series  of  Hindu  deities  in  the  Buddhist 
pantheon  is  called  Mahakala  who  is  popular  both  in  the  Sadhanamala 
as  well  as  in  the  Nispannayogavall.  His  form  is  described  as  follows  : 

"Mahakalah  krsnas-trisula-kapalabhrt".  NSP,  p.  62 

"  Mahakala  is  blue  in  colour  and  carries  the  Trisula  and  the  Kapala 
in  his  two  hands". 

One  statuette  of  his  occurs  in  the  Chinese  collection3.  His  des- 
cription in  the  Sadhanamala  is  more  detailed.  The  different  forms  of 
Mahakala  have  already  been  discussed  in  an  earlier  section  in  this  very 
chapter. 

(X)  NANDIKE£VARA 

Colour — Blue  Arms — Two 

Symbol — Muraja          Vehicle — Muraja 

The  tenth  and  the  last  in  this  series  of  Hindu  gods  is  called  Nandi- 
kesvara. His  form  is  described  thus  in  the  Mandala  of  Dharmadhatu- 
vagisvara  : 

"Nandikesvarah  krsnah  Murajarudho  Murajavadanaparah". 

NSP,  p.  62 

"Nandikesvara  is  blue  in  colour  and  sits  on  a  Muraja  drum  and  is 
engaged  in  playing  on  the  Muraja". 

Two  statuettes  of  this  deity  occur  in  the  Chinese  collection   under 

the  title  Nandisvara  (deva)  which  is  the  same  as  Nandikesvara  *. 
_____ 

2.  Clark  :  TLP>  II,  p.  153 
3*  Clark  :  TIP,  II,  p.  101 
4.  Clark  :TLP,  II,  pp.  104,  153 


HINDU  GODS  IN  VAJRAYANA  367 

7.    NINE  PLANETS 

From  time  immemorial  people  in  India  believed  in  the  power  of 
the  planets  either  for  evil  or  for  good.  That  belief  is  still  current.  The 
Hindus,  Buddhists  and  Jainas  alike  shared  in  this  belief,  and  in  all  these 
three  religious  systems  the  planets  were  deified  and  they  were  given  a 
form,  weapon  and  colour.  To  compare  the  forms  of  the  different 
planets  in  the  three  religious  systems  is  itself  an  independent  and 
stupendous  study.  It  is  not  the  purpose  here  to  compare  their  forms, 
nor  even  to  study  their  iconography  extensively,  but  a  passing  and 
brief  reference  to  the  planets  is  what  can  and  should  be  given.  As  the 
planets  were  deified  in  Buddhism  also,  their  forms  are  stated  below  in 
the  same  order  and  in  the  same  manner  as  they  appear  in  the  Mandala  of 
Dharmadhatuvagisvara  of  the  Nispannayogavall* 

(i)  ADITYA 

Colour— Red  Arms— Two 

Symbol — Discs  6f  the  Sun 
Vehicle— Chariot  of  Seven  Horses 

Aditya  or  the  Sun-god  heads  the  list  of  the  Nine  Planets,  and  his 
form  is  described  in  the  Nispannayogavall  as  follows  : 

"Saptaturagarathe  Adityo  rakto  daksinahastena  vamena  ca  padmas- 
tha-suryamandaladharah".  NSP,  p.  62 

"Aditya  rides  on  a  chariot  drawn  by  seven  horses.  He  is  red  in 
colour.  Both  in  the  right  and  in  the  left  he  holds  the  discs  of  the  sun 
on  lotuses". 

In  the  Chinese  collection,  one  statuette  of  this  planet  occurs  under 
the  title  of  Surya  *. 

(II)    CANDRA 

Colour— White  Arms— Two 

Symbol— Discs  of  the  Moon        Vehicle— Swan 

The  second  planet  in  this  series  is  Candra  or  the  Moon-god  who  is 
described  thus  in  the  text : 

"Hamse  Candrah  subhrah  savyahastena  vamena  ca  kumudastha- 
candramandalabhyt".  NSP,  p.  62 

"Candra  rides  on  a  Swan,  is  white  in  colour  and  holds  in  his  right 
and  left  hands  the  discs  of  the  Moon  on  lotuses". 

As  Candradeva  this  planet  is  popular  in  the  Chinese  collection  2. 

lT~Clark  :  TLP,  II,  p.  176 

2.    Clark  :  TLP,  II,  pp.  89,  182 


368  BUDDHIST  ICONOGRAPHY 

(III)    MANGALA 
Colour — Red  Arms — Two 

Symbol— 'Human  head  Vehicle— Goal 

The  third  in  the  series  of  Nine  Planetjs  is  Mangala  or  the  War*Lord 
Mars  whose  form  is  described  in  the  following  words  : 

"Chhagale  Mangalo  raktah  savyetfa  kattaram  vamena  Manusa- 
mundam  bhaksanabhinayena  dadhanah".  NSP,  p,  62 

"  Mangala  rides  on  a  Goat.  He  is  red  in  colour.  In  the  right  hand 
he  holds  the  Kattara  (cutter)  and  in  the  left  a  severed  human  head  in  the 
act  of  devouring". 

He  is  not  found  in  the  Chinese  collection. 

(IV)    BUDHA 

Colour — Yellow  Arms — Two 

Symbol — Bow  and  Arrow 

The  fourth  god  in  the  series  of  Nine  Planets,  is  Budha  or  Mercury 
and  his  form  is  described  as  under  : 

"Padme  Budhah  pitah  saradhanurdharah"  NSP,  p.  62 

'*On  a  lotus  there  is  Budha  who  is  yellow  in  colour  and  holds  in 
his  two  hands  the  arrow  and  the  bow". 

Budha  is  represented  in  the  Chinese  collection  only  once  ] . 

(V)    BRHASPATI 

Colour — White  Arms — Two 

Symbols — Rosary  and  Kamandalu 
Vehicle — Frog  or  Skull 

The  fifth  god  in  the  series  of  Nine  Planets  is  Brhaspati  or  Jupiter* 
His  form  is  described  in  the  text  as  under  : 

"Bheke  Kapale  va  Brhaspatir'gauro'ksasutrakamandaludharah," 

NSP,  p.  62 

"On  a  Frog  or  a  skull  there  is  Brhaspati  of  white  colour.  He 
carries  the  rosary  and  the  Kamandalu  in  his  two  hands". 

Brhaspati  is  not  represented  in  the  Chinese  collection  of  Peiping. 
1.    Clark  :  TLP,  II,  p.  83 


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Fig*  248  Mlna 
(Peking) 


Fig.  249  Khadiravani  Tara 
(Dacca  Museum) 


376 


Fig.  218  Lama 
(Nepalese  Painting) 


HINDU  GODS  IN  VAJRAYANA  377 

(Vi;     SUKRA 

Colour  —  White  Arms  —  Two 

Symbol  —  Rosary  and  Kamandalu 

The  sixth  in  the  series  of  Nine  Planets  is  Sukra  or  Venus  whose  form 
is  described  in  the  text  as  under  : 

"Sukrah   suklah  kamalastho'ksasutra-kamandalubhrt.'' 

NSP,  p.  62 

"Sukra  is  white  in  colour.    He  sits  on  a  lotus  and  holds  in  his  two 
hands  the  rosary  and  the  Kamandalu/' 

Sukra  is  not  represented  in  the  Chinese  collection. 


Colour  —  Blue  Arms  —  Two 

Symbol  —  Rod  Vehicle  —  Tortoise 

The  seventh  deity  in  the  series  of  Nine  Planets,  is  Sani,  Sanaiscara  or 
Saturn.  His  form  is  described  in  the  following  words  : 

"Kacchape  Sanaiscarah  krsno  dandadharah/'  NSP,  p.  63 

Sanaiscara  rides  on  a  tortoise  and  is  blue  in  colour.  He  holds  the 
rod". 

Saturn  is  not  represented  in  the  Chinese  collection.  The  selection 
of  the  slowest  animal  tortoise  for  the  slowest  of  the  planets,  Saturn,  is 
very  significant, 

(VIII)     RAHU 

Colour  —  Reddish  Blue  Arms  —  Two 

Symbol  —  Sun  and  Moon 

The  eighth  deity  in  this  series  ot  Nine  Planets,  is  the  destructive 
deity  Rahu.  His  form  is  as  under  : 

"Rahu  raktakrsnah  suryacandrabhrt'Savyetarakarah." 

NSP,  p.  63 

"Rahu  is  reddish  blue  in  colour,  and  he  holds  in  his  two  hands  the 
Sun  and  the  Moon." 

As  Rahudeva  he  occurs  once  in  the  Chinese  collection.  This 
Chinese  statuette  is  illustrated  in  Fig.  242  1  . 

1.    Clark  ;  TLP,  II,  p.  153 
48 


378  BUDDHIST  ICONOGRAPHY 

(IX)    KETU 

Colour  —  Blue  Arms  —  Two 

Symbol  —  Sword  and  Snake-noose 

The  ninth  and  the  last  in  the  series  of  deities  representing  the  Nine 
Planets  is  Ketu.  He  is  described  thus  in  the  Dharmadhatuvagisvara 
Mandala  : 

"Ketuh  krsnah  khadga-nagapasadharah".  NSP,  p.  63 

"Ketu  is  blue  in  colour  and  holds  the  sword  and  the  noose  of  snake*" 

Under  the  name  Ketugrahadeva,  he  occurs  once  in  the  Chinese 
collection  '.  Fig-  243  illustrates  this  Chinese  specimen. 

8.    BALABHADRA  GROUP 

A  set  of  four  Hindu  deities  under  the  Balabhadra  group  is  describ- 
ed fully  in  the  Dharmadhatuvagisvara  Mandala  of  the  NispannayogavalL 
They  include  Balabhadra,  Jayakara,  Madhukara,  and  Vasanta,  and  in 
Hinduism,  all  these  are  the  companions  of  the  god  Kamadeva,  the  deity 
of  Desire. 

(I)  BALABHADRA 
Colour  —  White  Arms  —  Four 
Symbol  —  Plough          Vehicle  —  Elephant 

The  first  deity  in  this  group  is  called  Balabhadra  who  may  be  identi- 
fied with  Balarama  the  brother  of  Krsna.  These  two  pastoral  deities  of 
Hinduism  broadly  represented  Agriculture  and  Dairying,  Balabhadra 
is  described  as  under  : 

"Kunjare  Balabhadrah  sitah  khadga-langaladharah." 

NSP,  p.  63 

"Balabhadra  rides  an  elephant  and  is  white  in  colour.  He  holds  the 
sword  and  the  plough." 

He  is  not  to  be  found  in  China. 

(II)  JAYAKARA 

Colour  —  (White)  Arms  —  Four 

Symbol  —  Garland  Vehicle  —  Cuckoo  Chariot 

The  second  deity  of  this  group  is  called  Jayakara  whose  form  is 
described  as  under  : 

"Kokilarathe  Jayakaras-caturbhujah  (sitah)  savyabhyam  puspama- 
lam  banam  ca  vamabhyarh  casaka-dhanusl  dadhanah."  . 

'  '  '  p.  63 


I.    Clark  :  TLP,  II,  p.  99 


HINDU  GODS  IN  VAJRAYANA  379 

"Jayakara  rides  a  chariot  drawn  by  cuckoos  ;  he  is  (white  in  colour) 
and  is  four-armed.  With  the  two  right  hands  he  carries  the  garland  of 
flowers  and  the  arrow  and  with  the  two  left  Casaka  (wine-glass)  and  the 
bow". 

He  is  not  represented  in  the  Chinese  collection. 

(Ill)     MADHUKARA 
Colour — White  Arms— Four 

Symbol — Makara  Banner  Vehicle — buka  Chariot 

The  third  deity  in  this  series  of  Hindu  gods  is  Madhukara  whose 
form  is  described  as  under  : 

"Sukasyandane  Madhukaro  gauras-caturbhujah  savyabhyam  makar- 
adhvajasare  vamabhyam  casakacapau  vibharti".  MSP,  p.  63 

"Madhukara  rides  a  chariot  drawn  by  Suka  birds  and  is  white  in 
colour.  He  is  four-armed,  and  holds  in  his  two  right  hands  the 
Makara  banner  and  the  arrow.  With  the  two  left  hands  he  carries  the 
wine-glass  (Casaka)  and  the  bow". 

(IV)     VASANTA 
Colour — White  Arms — Four 

Symbol — Wine-glass        Vehicle — Monkey 

The  fourth  and  the  last  in  this  series  of  four  Hindu  gods  is  Vasanta 
or  the  Spring-god.  His  form  is  described  in  the  following  words  in  the 
Dharmadhatuvagisvara  Mandala  : 

"Plavange  Vasantah  sitas-caturbhujah  savyabhyarii  bana-krpanabhrt- 
vamabhyam  dhanus-casakadharah".  NSP,  p.  63 

"Vasanta  rides  on  a  monkey  and  is  white  in  colour.  He  is  four-armed 
and  in  his  two  right  hands  he  holds  the  arrow  and  the  sword.  With 
the  two  left  he  carries  the  bow  and  the  wine-glass''. 

None  of  these  four  deities  is  represented  in  the  Chinese  collection. 

9.    LORDS  OF  THE  YAKSAS,  KINNARAS,  GANDHARVAS 
AND  VIDYADHARAS 

In  the  Dharmadhatuvagisvara  Mandala  eight  Lords  of  Yaksas  are 
described  briefly.  This  list  of  Yaksa  kings  is  important  as  it  is  not  found 
elsewhere  ;  it  is  not  possible  also  to  individualize  them  in  their  forms. 
The  Yaksas  are  a  semi-mythical  class  of  beings  who  are  supposed  to 
preside  over  treasures  and  shower  wealth  on  mankind  when  propitiated. 
Kubera  is  said  to  be  the  greatest  among  the  Yaksas,  who  according  to 
the  Hindus,  lives  in  the  North  along  with  the  Yaksa  hordes.  The  name 
of  his  capital  is  said  to  be  Alakapuri  adjacent  to  Mount  Kailasa  in  the 
Himalayan  region. 


•380  BUDDHIST  ICONOGRAPHY 

(I)    YAKSA  KINGS 

The  names  of  the  eight  Yaksa  kings  are  ; 

1.     Purnabhadra  2.  Manibhadra 

3.    Dhanada  4.  Vaisravana 

5.     Civikundali  6.  Kelimali 

7.     Sukhendra  8.  Calendra 

They  are  all  collectively  described  in  the  Mandala  in  one  brief 
sentence  : 

"Purnabhadradayo  Yaksadhipah  b!japuraphala~nakulabhrt-savyet- 
arakarah".  NSP,*p.  63 

*'The  Yaksa  kings  beginning  with  Purnabhadra  hold  in  their  hands 
the  Bijapura  (citron)  and  the  Nakula  (mongoose)  in  the  right  and  left 
hands  respectively". 

In  colour  they  differ.  Purnabhadra  is  blue,  Manibhadra  is  yellow, 
Dhanada  is  red,  Vaisravana  is  yellow,  Civikundali  is  red,  Kelimali  is 
green,  Sukhendra  and  Calendra  are  yellow. 

The  citron  and  the  mongoose  are  the  natural  symbols  of  Jambhala 
the  Buddhist  god  of  wealth,  and  as  such,  he  is  of  the  Yaksa  group. 

Except  Jambhala  these  Yaksas  are  rarely  represented.  In  the 
Chinese  collection  there  are  two  illustrations  one  under  the  title  of 
Yaksadeva  and  another  under  Yaksa  Purnabhadra  l.  They  refer 
evidently  to  this  group  of  deities.  Besides  them  there  is  a  series  of 
statuettes  which  are  designated  with  the  general  title  of  Mahayaksa^ 
senadhipatis.  They  carry  the  citron  and  the  mongoose. 

Allied  to  the  Yaksas  are  the  Kinnaras,  Gandharvas,  and  Vidyadharas. 
They  are  all  semi^mythical  beings  next  to  gods,  who  have  power  to 
confer  benefit  when  propitiated.  Some  information  about  their  kings 
is  found  in  the  Dharmadhatuvagisvara  Mandala  of  the  Nispannayo- 
gavalL  Their  forms  are  described  below  in  the  order  in  which  it  is 
found* 

(II)    KINNARA  KING 

The  Kinnara  king  is  not  named  here  but  his  form  is  given  in  the 
following  words  : 

"Kinnararajendro  raktagauro  vinavadanaparah"  NSP,  p.  63 

"The  Kinnara  king  is  reddish  white  in  colour  and  is  engaged  in 
playing  on  the  musical  instrument  called  the  Vina". 

1.    Clark  :  TLP,  II,  pp.  102,  313 


HINDU  GODS  IN  VAJRAYANA  381 

(III)  GANDHARVA  KING 

The  Gandharva  king  is  known  by  the  name  of  Pancasikha  and  his 
form  is  described  as  follows  : 

"Pancasikho  Gandharvarajendrah  pito  vmam  vadayati". 

NSP,  p.  63 

"Pancasikha  the  king  of  the  Gandharvas  is  yellow  in  colour  and  he 
plays  on  the  Vina  instrument". 

(IV)  VIDYADHARA  KING 

The  king  of  the  Vidyadharas  is  named  as  Sarvarthasiddha  and  his 
form  is  described  as  below  : 

"Sarvarthasiddho  Vidyadhararajendro  gaurah  kusumamalahastah". 

NSP,  p.  63 

"Sarvarthasiddha  the  king  of  the  Vidyadharas  is  white  in  colour 
and  holds  in  his  two  hands  the  garland  of  flowers". 

10.    TWENTY-EIGHT  CONSTELLATIONS 

The  Zodiac  is  divided  into  27  or  28  constellations  or  Naksattras. 
These  are  called  the  Lunar  Mansions.  These  Lunar  Mansions  are 
believed  to  exercise  great  influence  on  human  beings  and  their  affairs. 
They  are  constantly  bringing  good  or  bad  effects  and  are  supposed  to  be 
great  store-houses  of  power.  It  is  no  wonder,  therefore,  that  in 
Buddhism  these  Naksattras  should  be  deified  with  colour,  faces  and 
hands.  The  Naksattras  are  described  collectively  in  the  Dharmadhatu- 
vagisvara  Mandala  of  the  Nispannayogavall.  In  this  Mandala  the 
Naksattras  are  given  one  face  and  two  arms,  which  are  clasped  against 
the  chest  in  the  Anjali  mudra.  In  colour,  however,  they  differ. 

The  Naksattras  have  the  following  features  in   common  : 

"Asvinyadayo  devyasca  ratnakancukiparidhanah  krtanjalayah". 

NSP,  p.  65 

"The  deities  beginning  with  Asvinl  are  decked  in  bejewelled  jackets 
and  they  all  show  the  Anjali  mudra". 

They  differ  in  colour.  Their  distinctive  colour  is  given  below  in 
the  order  in  which  it  is  found  in  the  Mandala  : 

1.  Asvini — White  2.  Bharam — Green 

3,  Krttika— Green  4.  Rohim— Reddish  White 

5.  Mrgasira— Blue  6.  Ardra— -Yellow 

1.  Punarvasu — Yellow  8.  Pusya— Green 

9.  Aslesa— White  10.  Magha— Yellow 


382  BUDDHIST  ICONOGRAPHY 

11.    PurvaphalgunI — Green  12.  Uttaraphalgum — Green 

as  Priyahgu 

13.    Hasta -White  14.  Citra— Green 

15.     Svati-Yellow  16.  Visakha-Blue 

17.    Anuradha— Green  18.  Jyestha—-  Yellow 

19.     Mula— Yellow  20.  Purvasadha— Blue 

21.    Uttarasadha— White  22.     Sravana— White 

•    •  * 

23.     Dhanistha— Blue  24.  Satabhisa— Yellow 

25.     Purvabhadrapada—  26.  Uttarabhadrapada— Yellow 

Green 

27.    Revati--  White  28.  Abhijit— Green 

11.    TIME  DEITIES 
(I)     MONTHS 

Another  set  of  interesting  Hindu  deities  is  described  in  the  Kalaca- 
kra  Mandala  as  Lords  of  the  Twelve  Months  of  the  Hindu  Calendar. 
As  they  are  rarely  represented,  it  is  not  necessary  to  deal  with  them 

in  detail.     Only  a  brief  and  passing  reference  is  all  that  is  necessary 
here. 

There  are  altogether  twelve  months  having  twelve  deities  and  their 
names  are  given  below  in  the  same  order  as  it  is  given  in  the  Kalacakra 
Mandala  : 

1.  Caitra— Naiirti  2.  Vaisakha— Vayu 

3.  Phalguna — Yama  4.  Jyaistha— Agni 

5.  Asadha — Sanmukha  6*  Pausa — Kubera 

7.  Asvina — Sakra  8.  Karttika— -Brahma 

9.  Margasirsa — Rudra  10.  Sravana— Samudra 

11.  Bhadrapada — Ganesa  12.  Magha — Visnu 

These  twelve  gods,  at  least  most  of  them,  are  described  previously. 
But  the  forms  in  the  Kalacakra  Mandala  are  somewhat  different.  Hete 
they  are  all  accompanied  with  their  Saktis,  mostly  four-armed  and  have 
their  distinctive  vehicles. 

(II)    DATES 

The  Tithis  or  the  distances  between  the  sun  and  the  moon  are  also 
deified,  but  these  cannot  be  properly  determined  in  the  absence  of 
definite  iconographic  information.  Some  of  these  Tithis  (dates)  are 
found  represented  in  the  Chinese  collection  at  Peiping  *.  Figs.  224 
and  245  illustrate  the  Navami  and  DasamI  Tithis. 

I.    See  for  instance  Clark  :  TLP,  II,  p.  84  where  the  Tithis,  Saptaml,  Astami, 
Navami  and  DasamI  are  illustrated. 


HINDU  GODS  IN  VAJRAYANA  383 

(III)    ZODIACAL  SIGNS 

Besides  these,  there  are  the  Twelve  Signs  of  the  Zodiac,  named  in 
the  Hindu  books  on  Astrology  as  Mesa,  Vrsabha,  Mithuna,  Karka, 
Sirhha,  Kanya,  Tula,  Vrscika,  Dhanu,  Makara,  Kumbha  and  Mina.  It 
has  not  been  possible  to  trace  any  Sanskrit  text  from  Buddhist 
Tantric  literature  which  mentions  the  Dhyana  or  even  a  tolerable 
description  of  these  Signs  of  the  Zodiac,  But  the  Rasis  are  long 
believed  in  India  to  be  the  store-houses  of  mystic  power,  and  it  is  but 
natural  to  expect  that  these  Twelve  Signs  should  be  deified  with 
colour,  form,  weapons  and  the  rest.  It  is  also  natural  that  these  deities 
should  be  assigned  to  one  or  another  of  the  families  of  the  Dhyani 
Buddhas  so  that  they  may  be  fitted  into  the  Buddhist  pantheon.  When 
more  literature  on  the  subject  is  published,  only  then  it  will  be  possible 
to  find  descriptive  texts.  It  is  however  desirable  at  this  stage  to  refer 
to  the  excellent  statuettes  of  the  different  Signs  of  the  Zodiac  that  have 
been  discovered  in  China  and  illustrated  by  Professor  Clarke  in  his  Two 
Lamaistic  Pantheons,  Vol.  II,  ] . 

Figs.  246,  247  and  248  illustrate  the  three  Signs,  Tula,  Kumbha  and 
Mina. 

(IV)    SEASONS 

The  seasons  of  the  year  wore  likewise  deified  and  were  given 
form,  colour,  weapons,  and  were  affiliated  to  one  or  another  of  the 
Dhyani  Buddhas.  Descriptions  of  seasons  are  also  not  available  in  the 
Buddhist  Tantric  literature,  but  their  images  and  statuettes  have  been 
discovered  both  in  Tibet  2  and  China  3 . 


1.    See  for  instance,  Clark :  TLP,  II,  p.  102  for  Kanya  Devi,   p.  101  for  Tula  Devi, 

p.  87  for  Kumbha  Deva,  and  p.  86  for  Makara  Deva. 

f 

2  &  3.  For  instance,  Gordon  :  ITL,  p.  82  where  goddesses  for  Vasanta,  Sarad  and 
Hemanta  seasons  are  illustrated.  Also  Clark  :  TLP,  II,  p.  308  for  Sarad  and  Hemanta 
and  p.  307  for  Vasanta  and  Varsa  seasons. 


CHAPTER  XIV 

CONCLUSION 

The  foregoing  is  an  account  of  the  iconography  of  Buddhist  gods 
and  goddesses  as  reconstructed  from  Sanskrit  texts  of  the  Buddhist 
Tantric  literature.  The  study  confines  itself  to  the  iconography  of  gods 
and  goddesses  only,  excluding  all  other  favourite  themes  of  the  Buddh- 
ists carved  on  stone  or  painting,  such  as  the  scenes  from  Buddha's  life, 
the  Jataka  stories,  the  Avadanas  and  others,  representations  of  which, 
are  available  from  Bharhut,  Sanchi,  Amaravati,  Gandhara  or  even  the 
cave  temples  of  Ajanta.  This  book  does  not  refer  to  them  nor  makes 
an  attempt  to  identify  them  by  hunting  out  the  original  Sanskrit  texts 
which  are  illustrated  on  stone  in  the  form  of  stories.  It  is  a  practical 
handbook  for  the  guidance  of  Museologists  who  have  to  handle  large 
number  of  images  of  gods  and  goddesses  with  strange  faces,  weapons 
and  poses.  It  is  a  work  giving  indications  as  to  how  such  images 
should  be  studied,  analyzed,  and  finally  identified  with  the  help  of 
original  Sanskrit  texts  such  as  are  quoted  in  this  book  at  every  place.  An 
image  is  nothing  but  a  symbol,  and  it  is  the  business  of  the  students  of 
iconography  to  find  out  how  the  image  was  made,  by  whom  it  was 
made,  and  what  philosophical  and  cultural  background  was  necessary 
for  the  production  of  such  an  image.  In  this  work,  therefore,  problems 
such  as  these  have  been  treated  and  enough  information  is  given  in 
order  to  understand  a  Buddhist  image  from  different  view-points.  The 
scope  of  this  work  thus  is  limited,  and  it  does  not  claim  to  unravel  the 
mystery  of  all  stones  on  which  something  is  carved.  But  within  the 
limited  scope,  it  has  enough  information  of  the  highest  practical  value 
to  the  students  of  iconograghy,  and  this  value  is  enhanced  by  the 
inclusion  of  photographs  of  excellent  sculptures,  bronzes  and  original 
Nepalese  drawings  procured  with  difficulty  and  at  high  cost. 

The  Buddhist  pantheon  as  such  did  not  exist  before  cir.  300  A.  D. 
which  is  the  approximate  time  of  the  composition  of  the  famous 
Tantric  work  the  Guhyasamaja.  The  pantheon  got  a  good  start  from 
the  theory  of  the  five  Dhyani  Buddhas,  the  embodiment  of  the  five 
cosmic  forces,  Rupa,  Vedana,  Samjna,  Samskara  and  Vijnana.  The 
pantheon  further  got  a  fillip  from  the  theory  of  the  Kulas  (families)  of 
the  Dhyani  Buddhas  and  their  Saktis  or  female  counterparts*  The 
Dhyani  Buddhas  thus  became  the  Kulesas  or  progenitors  or  heads  of 


CONCLUSION  385 

families,  and  the  families  are  seen  multiplying  until  they  become 
overwhelming  in  number.  And  along  with  numerical  strength,  the 
excellent  and  meritorious  artists  went  on  producing  such  wonderful 
specimens  of  images  which  were  backed  by  the  religious  inspiration  of 
the  most  transcedental  type.  The  pantheon  became  extremely  attrac* 
tive,  and  all  including  the  Hindus  and  Jainas  started  building  their 
pantheons  and  adding  to  their  gods  and  goddesses.  In  the  meantime 
other  Buddhist  countries  like  Tibet,  China,  Japan  and  the  rest  were 
struck  by  the  wealth  of  gods  and  sculptures  of  the  most  bewildering 
variety,  and  started  constructing  their  own  pantheons  according  to 
their  own  national  and  cultural  genius.  The  pantheon  of  the  Buddhists 
created  in  India  thus  became  world  property,  although  Buddhism  as  a 
religion  vanished  from  India  the  land  of  its  birth  long  long  ago. 

The  teachings  of  the  Guhyasamaja  remained  dormant  for  some 
300  years,  and  was  handed  down  secretly  from  Gurus  to  disciples,  but 
later,  when  it  became  popular,  gradually  the  process  of  deification 
rapidly  grew  with  newer  and  newer  gods  and  goddesses.  Each 
image  received  and  absorbed  cultural  currents  and  cross-currents,  and 
as  a  living  organism  took  newer  and  newer  forms  according  to  time 
and  according  to  space.  It  has  now  become  so  unwieldy  and  its 
ramifications  have  been  so  intricate  and  vast,  that  it  has  become  a  highly 
specialized  study  requiring  experts  to  handle  the  gods  and  goddesses 
of  Buddhism.  The  study  is  fascinating  to  the  extreme,  and  the  interest 
in  the  subject  is  bound  to  grow  with  the  lapse  of  time  and  with  the 
publication  of  the  original  MSS  on  the  subject,  such  as  the  Vajravali, 
Kriyasamuccaya,  the  original  Tantras  like  the  Kalacakra  Tantra,  Heruka 
and  Hevajra  Tantras,  Vajrayoginl  and  Vajravarahi  Tantras,  vast  in 
number  and  voluminous  in  extent.  Let  us  hope  that  India  will  take 
care  of  these  priceless  original  manuscripts,  preserve  them  in  good 
libraries,  and  gradually  through  publications  make  them  available  to  the 
world  of  Buddhists  comprising  a  third  of  the  population  of  the  globe. 
Just  at  the  present  moment  however,  for  unravelling  the  mysteries 
of  the  Buddhist  images  of  gods  and  goddesses,  there  are  only  two 
books  of  outstanding  value.  These  are  the  Sadhanamala  and  the 
Nispannayogavali  both  published  in  the  Qaekwad's  Oriental  Series  for 
the  first  time.  The  Sadhanamala  was  composed  in  A.  D.  1165  since 
the  earliest  manuscript  of  the  work  bears  a  date  in  the  Newari  era 
which  is  equivalent  to  1165  A.  D.  Nispannayogavali  was  written  by  the 
famous  Buddhist  author  and  mystic  Mahapandita  Abhayakara  Gupta 
whose  time  is  co-eval  with  that  of  the  Pala  king  Ramapala  who  flouris- 
hed in  A,  D.  1084-1130.  Both  these  works  were  written  at  a  time  when 

49 


386  BUDDHIST  ICONOGRAPHY 

the  psychic  phase  of  Buddhism  reached  its  very  zenith,  before  being 
destroyed  by  the  sword  of  Islam.  Both  the  Sadhanamala  and  the 
Nispannayogavall  therefore  record  faithfully  the  highest  development 
of  the  psychic  phase  of  Buddhism  in  the  12th  century. 

The  Sadhanas  in  the  Sadhanamala  were  composed  by  men  distingue 
shed  in  the  mediaeval  age  as  great  Tantric  authors.  The  Dhyanas 
contained  in  the  Sadhanas  laid  down  the  essential  features  of  different 
gods,  and  the  sculptors  and  artists  prepared  images  with  the  help  of 
these  general  directions.  The  Dhyanas  left  much  scope  for  the  exercise 
of  imagination  on  the  part  of  the  sculptors,  and  the  products  of  their 
chisels  were  also  very  greatly  influenced  by  the  spirit  of  the  age  in 
which  they  flourished,  as  well  as  by  the  geographical  situation  in  which 
they  worked.  The  ornaments,  dress  and  even  facial  expressions  of  the 
images  reflected  local  conditions  to  a  great  extent,  while  the  particular 
Tantric  rites  in  which  the  images  were  used  had  also  a  modifying  in* 
fluence. 

It  has  been  pointed  out  several  times  that  the  most  important  factor 
in  the  identification  of  images  is  the  miniature  figure  of  the  Dhyani 
Buddha  on  their  crowns.  When,  however,  the  parental  Dhyani  Buddha 
is  not  present,  other  marks  of  identification  have  to  be  sought  for. 
Moreover,  difficulties  may  arise  even  when  the  Dhyani  Buddhas  are 
present.  In  cases  where  all  the  Dhyani  Buddhas  are  present  on  the 
aureole,  the  Buddha  right  on  the  top  of  the  head  is  to  be  taken  as  the 
parental  Dhyani  Buddha.  The  standing  figure  of  Khadiravam  Tara  in 
the  Indian  Museum,  Calcutta  or  the  Vikrampur  figures  of  Parnasabari 
are  the  cases  in  point.  They  are  both  emanations  of  Amoghasiddhi, 
whose  effigy  appears  right  above  the  heads  of  the  goddesses.  The 
figures  of  all  the  other  four  Dhyani  Buddhas  are  not  required  either 
by  the  Sadhana  or  for  identification.  Their  presence  can  only  be  ex- 
plained by  the  fact  that  in  all  kinds  of  worship  the  five  Dhyani  Buddhas 
are  the  first  to  be  invoked.  Sometimes,  however,  the  Dhyani  Buddhas 
appear  on  the  image  for  artistic  reasons  only,  as  for  instance,  in  the 
case  of  the  Dacca  Museum  image  of  Arapacana  Manjusri.  The  Java 
figure  of  Arapacana  is  surrounded  by  four  companions,  identical  in 
appearance  with  himself,  but  in  the  Dacca  Museum  image  there  are 
four  Dhyani  Buddhas  in  addition,  on  the  aureole  although  the  central 
position  just  above  the  head  of  the  principal  deity  is  occupied  by  one 
of  the  attendants  of  Arapacana.  The  Dhyani  Buddhas,  here  are  not 
required  by  the  Sadhana  and  are,  therefore,  more  ornamental  than 
otherwise. 

But  the  most  serious  difficulty  arises  when  instead  of  the  Dhyani 
Buddha  prescribed  by  the  Sadhana  some  other  Dhyani  Buddha  appears 


CONCLUSION  387 

on  the  crown  of  any  figure.  For  instance,  the  Sarnath  image  of 
Ucchusma  Jambhala  should  have  shown  in  accordance  with  the  Sadhana 
the  figures  either  of  Aksobhya  or  Ratnasambhava  on  its  crown,  but 
the  effigy  of  Amitabha  is  shown  instead.  Again,  when  a  reference  is 
made  to  the  Lucknow  figure  of  Marici,  who  according  to  the  Sadhana 
should  have  shown  the  figure  of  Vairocana  on  her  crown,  shows 
Amitabha  instead.  Again  the  Indian  Museum  image  of  Usmsavijaya 
shows  the  figure  of  her  parental  Dhyani  Buddha  as  Aksobhya  instead  of 
her  own  sire  Vairocana. 

True  reasons  for  these  discrepancies  can  hardly  be  given  at  this  state 
of  our  knowledge.  The  most  reasonable  suggestion  seems  to  be  that 
the  original  texts  are  not  stil]  known  in  their  entirety.  It  must  be  re- 
membered that  the  Sadhanamala  and  the  Nispannayogavall  are  not 
the  only  texts  produced  in  Vajrayana.  It  is  quite  likely  that  new 
Sadhanas  will  be  forthcoming  when  further  material  is  published.  It  is 
difficult,  however,  to  believe  that  a  new  Sadhana  for  either  Marici  or 
Usmsavijaya  will  be  available.  In  the  Sadhanamala  itself  a  large 
number  of  Sadhanas  is  published,  but  nowhere  there  is  any  mention 
of  any  other  parental  Buddha  than  Vairocana.  Thus  the  possibility  of 
discovering  further  Sadhanas  prescribing  parental  Buddhas  other  than 
Vairocana  seems  to  be  remote. 

Another  alternative  suggestion  presupposes  the  existence  of  ^ 
fferent  cults  according  as  one  or  another  of  the  Dhyani  Buddhas 
is  believed  to  be  the  principal  or  the  Adi-Buddha  1.  The  Buddhists  of 
Nepal  even  now  are  divided  into  so  many  different  cults,  some  regard^ 
ing  Amitabha  as  the  Adi-Buddha,  and  others  acknowledging  either 
Vairocana  or  Aksobhya  as  the  Adi-Buddha.  Now  though  the  Sadhanas 
prescribe  the  figure  of  *  the  Dhyani  Buddha  Vairocana  for  both  Marici 
and  Usmsavijaya,  the  followers  of  the  Amitabha  cult  are  at  liberty  to 
assign  them  to  that  Buddha  whom  they  consider  to  be  the  ,Adi'Buddha. 
Similarly,  Ucchusma  Jambhala  being  regarded  as  the  offspring  pf 
Amitabha,  is  made  to  bear  an  image  of  that  Dhyani  Buddha  on  his 
crown  in  the  Sarnath  figure  already  alluded  to.  It  is  not  necessary  to 
multiply  instances.  This  is  the  only  reasonable  explanation  it  is 
possible  to  offer  at  the  present  state  of  our  knowledge. 

In  identifying  Buddhist  images  the  student  of  iconography  should 
guard  himself  against  taking  unnecessary  figures  in  the  image  for  prin- 
cipal ones,  or  necessary  figures  for  unnecessary  ones.  A  fulLfledgejd 

1.  The  theory  of  Adi-Buddha  originated  in  the  Nalanda  monastery  about  the 
beginning  of  the  10th  century  and  was  accepted  first  in  the  Kalacakrayana,  a  later  form 
of  Vajrayana.  See  Csoma  de  Koros  :  The  Origin  of  the  Theory  of  Adi-Buddha  in 
J.  A.  S.  B.,  Vol.  II  (1833),  p.  57f.  See  also  Bhattacharyya  :  Buddhist  Iconography  in 
JBORS,  March,  1923. 


388  BUDDHIST  ICONOGRAPHY 

Buddhist  icon  shows  in  the  first  place,  the  principal  god,  an  effigy  of 
his  sire  on  his  crown,  and  the  Dhyani  Buddhas  on  the 
aureole.  The  icon  may  further  show  miniature  figures  of  the  com- 
panions of  the  principal  god,  some  worshippers,  mythical  figures  and 
the  three,  seven,  or  sixteen  jewels  or  sacred  objects  of  Buddhism.  The 
figure  of  Vajrasattva  seems  to  be  a  favourite  decoration  with  the  artists. 
He  appears  on  many  Buddhist  images  and  is  perhaps  conceived  as  a 
sort  of  general  guardian  of  Buddhism  and  Buddhist  worship.  For 
purposes  of  identification  the  principal  figure,  the  figure  of  the  Dhyani 
Buddha  on  the  top,  and  the  companions  are  the  indispensable  parts  of 
the  image.  When,  again,  a  reference  is  made  to  the  Dacca  Museum 
image  of  Arapacana  Manjusn  in  which  besides  the  four  companions 
there  are  present  four  Dhyani  Buddhas  Vairocana,  Aksobhya,  Amitabha 
and  Ratnasambhava,  two  mythical  figures  supporting  the  lotus  seat, 
and  two  worshippers  to  the  extreme  left  of  the  pedestal.  All  these 
figures  are  redundant  for  the  purpose  of  identification,  and  their 
absence  in  the  Java  figure  of  Arapacana  in  no  wise  affects  it.  But  if, 
for  instance,  the  companions  are  confused  with  the  worshippers  the 
identification  must  be  regarded  as  incorrect.  The  figures  flanking 
Vajrasana,  for  instance,  are  clearly  Maitreya  and  Avalokitesvara  accor^ 
ding  to  the  Sadhana,  but  if  they  are  described  as  worshippers,  as  has 
been  done  previously,  the  identification  of  the  whole  image  becomes 
vitiated. 

Another  difficulty  in  identification  arises  when  the  letters  of  the 
Mantra  of  the  god  are  deified  and  appear  on  the  image.  This  is 
found  in  the  case  of  Vajratara  who  is  surrounded  by  ten  goddesses 
who  originate  from  the  ten  syllables  of  the  Mantra  "Om  Tare  Tuttare 
Ture  Svaha".  It  has  also  been  pointed  out  previously  how  from  the 
five  letters  of  the  name  of  Arapacana  Manjusri  originated  the  five  deities 
Candraprabha,  Jalimprabha,  Kesinl,  and  UpakesinI,  and  the  principal 
deity  Manjusri.  The  Dacca  image  of  Khadiravam  Tara  (Fig.  249)  is  a 
remarkable  instance  of  the  deification  of  the  Tara  Mantra.  The  main 
figure  in  accordance  with  the  Sadhana  carries  the  Utpala  in  the  left 
hand  and  shows  the  Varada  mudra  in  the  right,  and  she  is  flanked  on 
either  side  by  Asokakanta  and  Ekajata.  But  on  the  aureole  there  are 
eight  female  figures  identical  in  appearance  with  the  principal  figure* 
They  obviously  represent  none  but  the  eight  syllables  of  the  Tara 
Mantra  "Orh  Tare  Tuttare  Ture",  the  two  others,  Usmsavijaya  and 
Sumbha,  being  omitted. 

Sometimes  in  the  images  of  Buddhist  gods  and  goddesses  we 
notice  the  presence  of  Ganesa,  who  is  regarded  by  the  Hindus  as 
"Siddhidata"  or  the  Bestower  of  Perfection  or  success  in  Tantric  rites. 


CONCLUSION  389 

The  Buddhists  as  a  proof  of  their  aversion  to  the  followers  of  the 
Brahmanical  faith,  made  their  gods  trample  upon  Ganesa.  Thus  in  the 
Indian  Museum  images  of  Parnasabari  and  Aparajita,  and  in  the  Baroda 
Museum  image  of  Vighnantaka,  etc.,  the  deities  have  been  represented 
as  trampling  Ganesa  under  their  feet.  In  the  two  Vikrampur  images 
of  Parnasabari  and  in  the  Dacca  Sahitya  Parisat  image  of  Mahapratisara, 
Ganesa  appears  below  the  lotus  seat  lying  prostrate  on  the  ground 
crushed  under  the  weight  of  Buddhist  deities.  Thus  did  the  Buddhists 
manifest  their  animosity  against  the  Hindu  god,  Ganesa,  giving  him  the 
epithet  of  Vighna  or  Obstacle.  Their  animosity  may  be  further  illus- 
trated by  the  following  features  of  the  Sadhanas.  The  four  Hindu  gods, 
Brahma,  Visnu,  Siva  and  Indra  have  been  designated  uniformly  as  the 
four  Maras  or  Wicked  Beings,  and  several  Buddhist  gods  have  been 
described  as  trampling  them  under  their  feet.  The  Sadhanas  of 
Prasanna-Tara,  Vajrajjvalanalarka,  Vidyujjvalakarall,  and  the  like,  are 
instances  in  point.  Trailokyavijaya  has  been  represented  as  trampling 
upon  the  prostrate  forms  of  Siva  and  Gauri  ;  Narayana  has  been  made 
a  Vahana  or  vehicle  by  Harihariharivahana.  Poor  Brahma  has  been 
most  severely  handled  by  the  Buddhists.  The  severed  head  of  Brahma 
is  a  favourite  trophy  in  the  hands  of  Buddhist  deities  According  to 
Hindu  traditions,  Brahma  should  be  very  old  with  grey  beard,  and  four 
heads,  and  the  Buddhist  deities  mercilessly  hold  the  heads  by  the 
matted  hair  and  flourish  them  in  their  hands.  This  is  how  the  Buddhists 
attempted  to  exhibit  the  superiority  of  their  gods  over  those  of  the 
Brahmanical  faith.  It  is  a  matter  of  satisfaction,  however,  that  the 
Hindus  never  disgraced  any  gods  belonging  to  the  alien  faith  in  this 
manner.  On  the  contrary,  they  placed  Buddha  among  the  ten  Avataras 
of  Visnu.  In  this  connection  it  may  be  pointed  out  that  in  the  Kala* 
cakra  Tantra  a  work  of  the  10th  century  A.  D.  there  is  evidence  that 
an  attempt  was  made  by  the  Buddhists  to  unite  with  the  Hindus  under 
the  common  banner  of  the  god  Kalacakra  'The  Circle  of  Time',  against 
the  cultural  penetration  of  the  Mlecchas.  The  later  history  showed, 
however,  that  the  attempt  proved  futile. 

A  deep  spiritual  significance  is  attached  to  the  colour,  weapons,  and 
the  Asanas  of  Buddhist  gods  who  are  either  represented  singly  or 
in  yab-yum.  The  conception  of  yab-yum  images,  however,  is  much 
more  complicated  than  the  single  ones. 

It  has  been  stated  in  the  Sadhanamala  that  a  single  deity  may  take 
any  colour  according  to  the  particular  Tantric  rite  in  which  he  is  invoked. 
For  instance,  in  the  Santikavidhi  or  propitiatory  rite  the  god  takes  the 
white  or  the  yellow  colour.  In  Paustikavidhi  or  protective  rite  the 


390  BUDDHIST  ICONOGRAPHY 

yellow  colour  is  taken  by  the  deity.  Similarly,  in  Vasyavidhi  (bewitch- 
ing) and  Akarsana  (attraction)  he  may  take  yellow,  green  or  red  colour. 
In  Ucatana  (total  destruction)  and  in  Marana  (killing)  the  god  is 
generally  blue.  It  may  be  pointed  out  here  that  the  word  'Krsna1  in 
the  Sadhanamala  always  signifies  the  blue  colour,  and  not  black. 
Buddhist  gods  are  rarely  black,  not  because  the  Buddhists  had  no 
perception  of  the  black  colour,  but  because  there  seems  to  have  been 
some  prejudice  against  using  the  black  colour  in  the  paintings  of  gods. 
It  may  further  be  pointed  out  that  whenever  a  deity  gets  the  blue 
colour  his  appearance  becomes  terrible  with  protruding  teeth  and 
tongue,  garland  of  severed  heads,  ornaments  of  snakes  and  the  garment 
of  tiger-skin. 

With  regard  to  colour  it  may  be  remembered  that  their  stock 
number  is  usually  five  corresponding  to  the  five  cosmic  elements.  Thus 
according  to  authoritative  books,  the  element  of  Water  is  white  in 
colour,  Earth  is  yellow,  Fire  is  red,  Ether  is  green,  and  Air  is  blue.  Of 
these  the  two  colours  white  and  yellow  representing  Water  and  Earth  are 
benign,  and  the  other  colours  red,  green  and  blue  are  clearly  malefic. 
The  earthy  and  watery  gods  are  peaceful,  while  the  gods  of  the  other 
three  elements  are  fearful  in  character.  Blue  seems  to  be  the  most 
violent  of  all. 

The  Asanas  have  likewise  a  spiritual  significance.  The  Vajraparyahka 
attitude  signifies  meditation  and  introspection,  the  Ardhaparyahka  shows 
serenity,  the  Alidha  heroism,  the  Pratyalidha  destruction  and  disgust, 
and  the  dancing  in  Ardhaparayanka  displays  wrath  and  horror. 

A  reference  may  be  made  here  to  the  yab-yum  representations.  The 
Tibetan  yab  means  'the  honourable  father'  and  yum  likewise  signifies  the 
'honourable  mother'.  Therefore,  the  word  yab-yum  means  the  honour- 
able father  in  the  company  of  the  honourable  mother.  A  yab-yum 
image  has  a  deep  spiritual  significance.  It  signifies  that  the  god,  the 
embodiment  of  Sunya  is  perfect,  having  attained  Karuna  and  therefore 
the  highest  state  of  Nirvana. 

The  conception  of  Sunya  in  Vajrayana  took  the  concrete  shape  of 
a  god  and  a  goddess.  Sunya  took  the  shape  of  Heruka  when  a  male  god, 
and  became  known  as  Nairatma  when  a  goddess.  That  £unya  took 
the  form  of  a  deity  does  not  seem  strange  in  Vajrayana,  where  we  find 
conceptions,  such  as  Safigha,  Dharma,  Prajnaparamita,  the  twelve  Para- 
mitas,  and  the  five  Skandhas  deified  in  the  Buddhist  pantheon.  Thus 
the  conception  of  Sunya  in  the  form  of  a  god  or  a  goddess  is  perfectly 
in  keeping  with  the  tradition  of  the  Vajrayana  system.  When  the  Bodhi 
Mind  attains  Nirvana  it  merges  in  Sunya  and  there  remains  in  eternal 
bliss  and  happiness.  And  when  Sunya  was  made  a  goddess,  it  was 


CONCLUSION  391 

easily  understood,  how  eternal  bliss  and  happiness  was  possible  after  the 
attainment  of  Nirvana.  The  yab-yum  figures,  representing  Sunya  in 
the  form  of  Heruka  in  the  embrace  of  oiinya  in  the  form  of  Nairatma, 
were  held  up  before  the  mass  as  ideals,  and  they  readily  attracted  them 
and  helped  them  in  their  conception  of  a  bright  and  definite  spiritual 
prospect. 

Buddhists  of  the  Vajrayana  consider  Sunya  as  the  Ultimate  Reality, 
and  they  believe  that  the  host  of  gods  and  goddesses,  including  the 
Dhyani  Buddhas,  are  ounya  in  essence.  The  innumerable  gods  and 
goddesses  of  the  Vajrayana  pantheon  are  all  manifestations  of 
Sunya.  The  gods  have  no  real  existence,  the  images  have  no  real 
existence,  and  therefore,  it  may  be  positively  asserted  that  a  true 
Vajrayanist  never  worshipped  an  image  or  god.  Naturally,  since  these, 
paintings,  images,  or  even  the  deities  themselves  have  no  real  or  inde- 
pendent existence,  they  are  merely  manifestations  in  a  variety  of  forms 
of  the  One,  Undifferentiated  Sunya.  But  it  cannot  be  denied  that  these 
images  were  very  useful,  since  the  forms  they  presented,  in  accordance 
with  the  Dhyanas,  to  the  gaze  of  the  worshippers  undoubtedly  helped 
the  latter  to  visualise  the  deities  with  whom  they  were  asked  to  identify 
themselves.  As  they  had  no  real  existence,  these  deities  had  to  be 
attracted  to  the  mind-sky  from  unknown  regions  in  the  firmament  by 
the  luminous  rays  of  light  issuing  from  the  BIja mantras  uttered  by  the 
worshipper.  The  Sunya  takes  the  form  of  a  divinity  in  accordance 
with  the  germ-syllable  uttered,  and  exists  only  as  a  positive  idea  in  the 
mind  of  the  worshipper  who  identifies  himself  with  that  transformation 
of  Sunya. 

The  question  may  be  raised  as  to  the  necessity  of  a  veriety  of  gods 
and  goddesses  when  one  Sunya  would  have  been  sufficient.  In  answer 
to  this  a  number  of  things  have  to  be  considered.  It  may  be  remember- 
ed that  Sunya,  which  was  identified  with  Compassion  by  the  Vajrayan- 
ists  was  conceived  as  manifesting  itself  in  diferent  forms  in  accordance 
with  the  different  functions  it  had  to  discharge.  For  instance,  if  any 
disease  is  to  be  cured,  Sunya  takes  the  form  of  Simhanada  ;  when  it  is 
a  question  of  snake-bite,  Sunya  becomes  Janguli  ;  when  destruction  of 
the  wicked  is  needed,  Sunya  takes  the  form  of  MahSkala  ;  when  again, 
diseases  and  pestilences  are  to  be  prevented,  Sunya  is  conceived  as 
Parnasabari ;  for  success  in  love-affairs,  Sunya  is  invoked  in  the  form 
of  Kurukulla  ;  and  when  forcible  submission  is  required  in  love-affairs, 
£unya  becomes  Vajrananga,  and  when  finally,  Buddhahood  is  wanted  by 
the  worshipper,  he  should  conceive  himself  as  Heruka*  From  the  above 
it  appears  that  the  conception  of  the  multitude  of  Buddhist  deities 


392  BUDDHIST  ICONOGRAPHY 

emerges  from  the  one  grand  conception  of  ounya  in  accordance  with 
the  various  functions  it  is  supposed  to  discharge,  as  a  mark  of  compa- 
ssion towards  the  Buddhists. 

Secondly,  the  number  of  gods  and  goddesses  increases  when  Sunya 
manifests  in  different  forms  the  nine  "Rasas"  or  dramatic  sentiments. 
For  instance,  Sunya  will  be  Khadiravam  or  Lokanatha  when  benign 
(Karuna),  Marici  when  Heroic  (Vira),  Vighnantaka,  Heruka  or  Maha- 
kala  when  awe-inpiring  (Bhaya),  Aparajita  when  wrathful  (Raudra), 
Vajracarcika  in  its  moments  of  disgust  and  loathsomeness  (Blbhatsa), 
Prajnaparamita  when  peaceful  (Santa),  and  so  on. 

Thirdly,  the  number  of  deities  increases  as  objects  such  as  the 
Three  Jewels  ;  philosophical  conceptions  such  as  the  Paramitas,  Bhumis 
or  Pratisamvits  ;  literature  such  the  Prajnaparamita,  the  Dasabhumika 
Sastra,  the  Dharims  and  the  like  ;  desires  such  as  for  eating,  drinking, 
sleeping  and  the  rest  ;  the  directions  such  as  the  north,  south,  east  and 
west ;  the  musical  instruments  such  as  the  flute,  the  violin,  and  the 
drum  ;  and  other  innumberable  ideas  and  objects,  are  required  to  be 
worshipped  in  the  forms  of  gods  and  goddesses,  By  these  and  various 
other  ways  the  number  of  deities  in  the  Buddhist  pantheon  increased 
phenomenally. 

As  all  these  deities  centre  round  the  one  grand  conception  of  Sunya 
so  also  the  host  of  weapons  revolve  round  the  one  grand  conception  of 
Bodhicitta  or  the  Will  to  Enlightenment.  As  these  weapons  are  required 
to  discharge  different  functions,  the  Bodhicitta  resolves  itself  into  so 
many  different  forms  of  weapons  J.  For  instance,  when  the  darkness 
of  ignorance  is  to  be  dispelled  Bodhicitta  becomes  a  sword  by  which 
the  veil  of  ignorance  is  cut  asunder.  The  sword  is  also  to  be  used  to 
destroy  the  Mara  hordes  who  disturb  the  worshippers.  Bodhicitta 
becomes  the  Ahkusa  (goad)  when  the  hearts  of  the  wicked  are  to  be 
pierced.  It  is  conceived  as  a  noose  when  the  Mara  hordes  are  to  be 
securely  bound.  It  becomes  a  needle  and  a  thread  when  the  eyes  of 
the  wicked  have  to  be  sewn  up.  Bodhicitta  becomes  a  Kartri  (knife) 
when  the  wicked  have  to  be  chopped.  It  is  a  Bhindipala  (javelin)  when 
Maras  have  to  be  attacked  from  a  distance,  and  a  bow  and  an  arrow  if 
the  distance  be  greater. 

1.    Compare  the  statement  in  the  Jnanasiddhi  of  Indrabhuti  in  the    Two  Vajrayana 
Works  (GOS),  pp.  SO,  81 

Bodhicittam  bhaved  Vajram  Prajna  Ghanta  vidtuyate    I 
Cakratn-ajnanacchedat  ca  Ratnantu  durlabhadapi    II 
Bhavadosair-aliptatvat  jninam  tat  Padam-ucyate    I 
Khadgah  kle£arisamcchedat  Utpaiam  plavanat  tatah    II 


CONCLUSION  393 

The  Mudras  also  are  nothing  but  the  manifestations  of  the  Bodhi- 
citta.  If  protection  is  needed,  Bodhicitta  is  conceived  as  the  Abhaya 
mudra  ;  if  boon  is  desired  it  becomes  Varada  ;  when  instruction 
in  Buddhist  Law  is  required  it  becomes  Dharmacakra,  and  so  on. 

The  Bodhicitta,  or  the  Will  to  Enlightenment,  is  that  state  of  Mind 
which  has  already  acquired  the  potentiality  of  dissolving  itself  in  Sunya. 
As  a  matter  of  fact,  Sunya  or  Nirvana  would  be  unattainable  without 
the  help  of  the  Bodhicitta,  which  like  Sunya  exists  only  in  the  mind. 
The  Bodhi  mind  leads  the  aspiring  soul  into  the  very  presence,  so  to 
speak,  of  Sunya  ;  it  ultimately  merges  and  loses  itself  completely  in 
Sunya. 

The  gods  of  the  Buddhist  pantheon  are  conceived  as  carrying  the 
Bodhicitta  in  their  hands,  both  being  of  the  nature  of  Sunya  It  is 
with  the  help  of  this  Bodhicitta  that  a  god  is  supposed  to  confer 
Buddhahood  or  success  in  Tantric  rite  upon  his  worshipper.  The 
yab-yum  conception  of  deities  is  still  more  sublime.  The  god  Heruka, 
the  embodiment  of  Sunya,  carrying  weapons  the  embodiments  of 
Bodhicitta  also  of  the  nature  of  Sunya,  is  embraced  by  Nairatma, 
whose  essence  is  Sunya,  carrying  weapons  also  of  the  nature  of  Sunya. 
Thus  the  Infinite  with  the  Infinite  commingles.  In  Involution,  the 
Many  become  One.  This  is  the  highest  state — the  Anupadhisesa* 
Nirvana. 

Krto  vah  sarvasattvarthah 

siddhir-datta  yathanuga     I 
Gacchadhvam  Buddhavisayarh 

punaragamanaya  Muh    II 

"Gods,  I  bid  Ye  farewell  !  Ye  have  fulfilled  the  desires  of  all 
beings.  Ye  have  conferred  the  desired  success.  Go  Ye  to  the  region 
of  the  Buddhas.  Return  Ye  once  again,  Muh". 


50 


APPENDIX 

108    FORMS  OF  AVALOKITESVARA 
(In  the  Machhandar  Vahal,  Kathmandu,  Nepal) 

1.  Hayagriva    Lokesvara.        The  god  sits   in  the    Vajraparyanka 
attitude  on  a  lotus.    He  has  four  hands,  out  of  which  the  two  principal 
ones  exhibit  the  Vyakhyana  pose.     The  second   pair  holds  the  rosary 
in  the  right  hand  and  the  lotus  in  the  left.    He  is  accompanied   by  six 
other  gods  and  a  dragon. 

2.  Mojaghanjabala  (?)  Lokesvara.    He  stands  in  the  Samabhahga 
attitude  on  a  lotus,  with  his  two  hands  showing  the  Abhaya    mudra  in 
the  right  and  the  noose  in  the  left. 

3.  Halahala  Lokesvara.    He  sits  in  the  Lalita  attitude  on  a  lotus 
with  his  Sakti  on  the  lap.     He  has  three  faces  and  six  arms.    The  face 
above  represent  probably  the  head  of  the  Dhyani  Buddha,  whose  effigy 
he  should  bear  on  his  crown.    In  his  three  right  hands  he  shows  the 
sword,  the  rosary  and  the  Varada  pose.     In  the  three  left  hands  he 
carries  the  lotus,  the  noose  and  the  Utpala.    The  hand    holding  the 
noose  passes  round  the  Sakti  in  the  act  of  embracing.  The  Sakti  exhibits 
the  Varada  mudra  in  the  right  hand  and  the  Abhaya  in  the  left. 

4.  Harihariharivahana  Lokesvara.     Lowermost  is  the    snake,  on  it 
is  the  lion,    over  the  lion  is  Garuda,  Narayana  rides  Garuda,  and  on 
his  shoulder  sits  Lokesvara.    The  Garuda  has  two  hands  in  the  Anjali 
mudra.    Narayana  has  four  hands,  of  which  the  first  pair  is  engaged 
in  forming  the  Anjali  against  the  chest ;  while  the  second  pair  has  the 
Cakra  in  the  right  hand  and  the  Gada  in  the  left.      Lokesvara  sits  in 
Vajraparyanka  and  has  six  arms  ;  the  right  hands  show  the  rosary,  the 
Cakra  and  the  Varada  pose,  while  the  three  left  carry  the  Tridandi,  the 
noose  and  the  Utpala, 

5.  Mayajalakrama  Lokesvara.    He  has  five  faces  and  twelve  arms. 
The   head  on     the  top  probably  represents    Amitabha.    He    stands 
in    the  Alidha  attitude,  and  wears  the  tiger-skin  and  the  garland  of 
heads,  but  his  faces  do  not  present  a  fearful  appearance.    The  six  right 
hands  carry  the  Tridandi,  the  Khatvahga,  the  jewel,  the  Khadga,    the 
Vajra  and  the  rosary,  and  the  six  left  show  the  noose,  the  Kapala,  the 
Utpala,  the  fruit,  the  Cakra  and  the  lotus. 


APPENDIX  395 

6.  Sadaksarl  Lokesvara.     He  sits  in  the  Vajraparyahka   attitude, 
fie  has  four  arms  and  one  face.     The  principal  pair  of  hands  is  joined 
against  the  chest  in  forming  the  Anjali.    The  second    pair  carries  the 
rosary  in  the  right  and  the  lotus  in  the  left. 

7.  Anandadi  Lokesvara.    He  stands  in  the  Samabhahga  attitude, 
and  carries  the  lotus,  the  stem  of  which  he  holds  in  his  right  hand,  while 
the  left  displays  the  Varada  pose. 

8.  Vasyadhikara  Lokesvara.    He  sits  in  the  Vajraparyahka  attitude 
and  carries  the  bowl  in  his  two  hands  arranged  in  the  Samadhi  mudra. 

9.  Potapada  Lokesvara.    He  sits  in  the  Vajraparyahka  attitude,  and 
has  four  arms.    The  two  principal  hands  exhibit  the  Anjali  against  the 
chest,  while    the  other  pair  holds  the  rosary  in  the  right  and  the  noose 
in  the  left. 

10.  Kamandalu  Lokesvara.     He  stands  in  the  Samabhahga  attitude, 
and  is  endowed  with  six  arms.    His  two  principal   hands  are  engaged 
in  drawing  the  bow  to  its  full  length.     The  other  four  hands  carry  the 
Vajra  and  the  Cakra  in  the  two  right  andtheGhanta  and  the  Kamandalu 
in  the  two  left. 

11.  Varadayaka  Lokesvara.     He  is  one-faced    and  six-armed  and 
stands  on   a  lotus.     The   two  principal  hands   join  against  his  chest    in 
forming  the  Anjali.     He  shows    also  the  rosary  and  the  Varada  pose  in 
the  two  right  hands,  and  the  book  and  a  mudra  (probably  Karana  ?)  in 
the  two  left. 

12.  Jatamukuta  Lokesvara.     He  is  four-armed  and  one-faced,  the 
head  on  the  top  representing  the  head   of  Amitabha.    The  two  right 
hands  show  the  rosary  and  the  Varada  pose,  while  the  two  left  hold  the 
lotus  and  the  water-pot.    He  is  represented  in  a  standing  attitude. 

13.  Sukhavati  Lokesvara.    He  is  one-faced,  and  six-armed,  and  sits 
on  a  lotus  in  the  Lalita  attitude.    The  first  pair  of  hands  exhibits  the 
Dharmacakra   mudra,  the  second   pair  carries  the  rosary  and  the  book, 
and  the  third  pair  shows  the  Varada  mudra  in  the  right  and  the  water- 
pot  in  the  left. 

14.  Pretasantarpana  Lokesvara.  He  is  one-faced  and  six-armed  and 
stands  on  a  lotus.     In  his  threee  right  hands  he  displays  the  rosary,    the 
jewel  and  the  Varada  mudra,    while    the    three  left  carry  the  Tridandi 
and  the  book  and  exhibit  the  Varada  mudra. 

15*  Mayajalakramakrodha  Lokesvara.  He  presents  a  very  fierce 
appearance  with  five  faces  terrible  with  protruding  teeth,  and  eyes  roll- 
ing in  anger.  His  hair  rises  upwards  like  flames  of  fire*  He  stands  in 
the  Pratyalldha  attitude  and  wears  the  tiger-skin.  He  has  twelve  arms, 


396  BUDDHIST  ICONOGRAPHY 

of  which  the  six  right  carry  the  sword,  the  Vajra,  the  goad,  the  noose, 
the  Trisula  and  the  arrow,  and  the  six  left  hold  the  shield,  the  Cakra, 
the  jewel,  the  deer-skin,  the  Kapala  and  the  Tarjani  with  the  noose. 

16.  Sugatisandarsana   Lokesvara.     He  is  one-faced  and  six-armed 
and  stands   on  a  lotus.     In  his  three  right  hands  he  carries  the  rosary 
and   exhibits  the  Varada   and   Abhaya  poses.     The  three  left  have  the 
Tridandi,  the  Utpala  and  the  water-pot. 

17.  Nilakantha  Lokesvara.     He  is   one-faced  and  two-armed,   and 
sits  on  a  lotus  in  the  Vajraparyafika  attitude.     He  carries  the  bowl  of 
gems  in  his  two  hands  arranged  in  the  Samadhi  mudra. 

18.  Lokanatha  Raktaryyavalokitesvara.     He  is  one-faced  and  two- 
armed  and  sits  in  the  Lalita  attitude  on  a  lotus    The  right  hand  displays 
the  Varada  mudra  while  the  left  holds  the  stem  of  a  lotus  on  his  lap. 

19  Trilokasandarsana  Lokesvara.  He  also  is  one-faced  and  two- 
armed  and  sits  in  the  Vajraparyafika  attitude  on  a  lotus.  His  right  hand 
is  raised  against  the  chest  with  outstreched  fingers  and  palm  turned 
inwards.  The  other  hand  exhibits  exactly  the  same  pose  (Karana  ?)  as 
displayed  by  one  of  the  left  hands  of  Varadayaka  Lokesvara. 

20.  Sirhhanatha  Lokesvara.     He   is  one-faced  and   four-armed  and 
sits  in  Bhadrasana,  or  in  the  European  fashion,  on  a  raised  seat  placed  on 
the  lotus.     In  his  two  right  hands  he  carries  the  sword  and  the  jewel, 
while  the  two  left  hold  the  book  and  the  noose. 

21.  Khasarpana  Lokesvara.    He  is  one-faced  and  two  armed  and 
sits  in  the  Lalita  attitude  on  a  lotus.     His  right  hand  exhibits  the  Varada 
pose  and  the  left  is  raised  against  the  chest,  holding  the  stem  of  a  lotus. 

22.  Manipadma  Lokesvara.     He  is  one-faced  and  four-armed  and 
sits  in  the  Vajraparyafika  attitude  on  a  lotus.    His  two  principal  hands 
are  joined  against  his  chest  forming  the  Anjali  and  the  other  pair  holds 
the  rosary  in  the  right  hand  and  the  lotus  in  the  left.    He  is  identical 
in  form  with  No,  6  described  above. 

23.  Vajradharma  Lokesvara.    He  is  one-faced  and  two-armed  and 
sits  in  the  Vajraparyafika  attitude  on  a  lotus.    The  right  hand  displays 
the  Abhaya  pose  and  the  left  on  the  lap  holds  the  stem  of  the  Utpala, 

24.  Pupala  Lokesvara.    He  is  one- faced  and  four-armed  and  sits  in 
the  Vajraparyafika  attitude  on  a  lotus.    One  of  his  two  right  hands 
carries  the  rosary  while  the  other  exhibits  the  Abhaya  pose.    One  of 
the  two  left  carries  the  book  and  the  other  displays  a  mudra  with  the 
index  and  little  fingers  pointing  outwards  (Karana  ?). 


APPENDIX  397 

25.  Ucnauti  (?)  Lokesvara      He  is  one-faced   and  six-armed  and  sits 
in  Bhadrasana  on  the  raised  seat  of  a  lotus.  His  three  right  hands  exhibit 
the  rosary,   the  Vajra  and  the  Abhaya  pose,  while  the  three  left    carry 
the  Kapala,  the  noose  and  the  water-pot. 

26.  Vrsnacana   Lokesvara.     He  is  one-faced  and  six-armed  and  sits 
in  the   Lalita  attitude  on   a  lotus.     The  three   right  hands   display  the 
Utpala,   the  arrow  and  the  Varada  pose,  while  the  three  left  show  the 
book,  the  bow  and  the  Abhaya  pose. 

27.  Brahmadanda     Lokesvara.     He  is   one-faced     and    four-armed, 
sits   in   the  Lalita  attitude  on  a  lotus,  and  is   accompanied    by  his    Sakti 
who  sits  on  his  lap.     His  two  right   hands    show  the   Tridandi   and   the 
Varada  pose,  while  the  two  left  show  the  Ratnakalasa  (vessel  containing 
jewels)  and  a  mudra  with  the  index  and  little  fingers  pointing  outwards 
The  Sakti  displays  the  Varada  pose   in   the  right  hand   and  the   Abhaya 
in  the  left. 

28.  Acata  (?)  Lokesvara.     He   is   one-faced  and  six-armed,  and   sits 
in   the   Lalita   attitude   on   a  lotus.     His   three   right   hands  show   the 
sword,   the  arrow  and   the  Varada    pose,  while  his   three   left  hold    the 
Kartri  and  the  bow  a'nd  display  the  Abhaya  pose. 

29.  Mahavajrasattva    Lokesvara.     He  is   one-faced  and  eight-armed, 
and  sits  in  the  Vajraparyanka  attitude  on  a  lotus.     His  four  right  hands 
exhibit  the  sword,  the  rosary,  the  Cakra  and  the  Abhaya  pose,  while  his 
four  left  hold  the  noose,  the  Tridandi,  the  conch  and  the  bowl   of  gems 
on  his  lap. 

30.  Visvahana   Lokesvara.     He  is  one-faced  and  six-armed  and  sits 
in  the  Vajraparyanka  attitude  on   a  lotus.     His   three  right  hands  hold 
the  sword,  the  arrow,  and  the  Cakra,  while  his  three  left  show  the  noose, 
the  bow  and  the  Abhaya  pose. 

3L  Sakyabuddha  Lokesvara.  He  is  one-faced  and  four-armed, 
and  is  represented  as  standing  on  a  lotus.  His  two  right  hands  hold 
the  arrow  and  the  Khatvanga,  while  his  two  left  show  the  bow  and 
the  TarjanL 

32.  Santasi  Lokesvara.     He  is  one-faced  and  six-armed  and  stands 
on  a  lotus.   His  two  principal  hands  are  joined  against  his  chest  in  form* 
ing  the  Dharmacakra  mudra.     The  other  four  hands  show  the    rosary 
and  the  Varada  pose  in  the  right,  and  the  book  and  the  Abhaya    mudra 
in  the  left. 

33.  Yamadanda  Lokesvara.    He  is    one-faced  and  six*armed,  and 
sits  in  the  Lalita  attitude  on  a  lotus.     His  three  right  hands  hold  the 
sword,  the  lotus  and  the  Vajra,  while  his  three  left  display  the  fruit,  the 
bowl  of  gems  and  an  unspecified  mudra  (Karana  ?). 


398  BUDDHIST  ICONOGRAPHY 

34-  Vajrosnisa  Lokesvara.  He  is  one-faced  and  six-armed,  and  is 
represented  as  standing  on  a  lotus.  His  three  right  hands  show  the 
rosary,  the  Tridandi  and  the  Abhaya  pose,  and  his  three  left  the  book, 
the  noose  and  the  Varada  pose. 

35.  Vajrahuntika  (?)  Lokesvara.    He  is  one-faced  and  twelve-armed 
and  stands  in  Ardhaparyahka  in  a  dancing  attitude  on  a    lotus.    He 
holds  the  Utpala  in  all  his  twelve  hands. 

36.  Jnanadhatu  Lokesvara.    He  is  one-faced  and  eight-armed  and 
stands  on  a  lotus.    Two  of  his  hands  are  joined  against  his  chest    in 
forming  the  Anjali  mudra  ;  the  second  pair  exhibits  what  is  called  the 
Ksepana  mudra.    The  remaining  hands  hold  the  rosary  and  the  Tridandi 
in  the  right  and  the  book  and  the  noose  in  the  left. 

37.  Karandavyuha    Lokesvara.    He    is  one- faced   and  two-armed 
and  sits  in  the  Vajraparyahka  attitude  on  a  lotus.     He   holds   the  Vajra 
in  his  right  hand  and  the  book  against  his  chest  in  the  left. 

38.  Sarvanivaranaviskambhl  Lokesvara.    He  is  one-faced  and  two- 
armed  and  sits  in  the  Vajra paryahka  attitude    on   a    lotus.     His  right 
hand  holds  by  its  stem  a  lotus  on  which  there  is  a  sword,   and  his  lefr 
hand  holds  the  Vajra  against  his  chest. 

39.  Sarvasokatamonirghata  Lokesvara.    He  is  one-faced  and   four- 
armed  and  sits  in  the  Vajraparyahka  attitude  on   a  lotus.     Each  of  his 
two  principal  hands  exhibits  the  Abhaya  pose  against  his  chest,  while 
the  other  two  hands  hold  the  rosary  in  the  right  and  the  Utpala  in  the 
left. 

40.  Pratibhanakakuta  Lokesvara.     He  is  one-faced  and  four-armed 
and  sits  in  the  Vajraparyahka  attitude  on  a  lotus.    He  holds  the  noose 
against  the  chest  with  his  right  hand  and  the  bowl  of  gems  in  his  left. 

41.  Amrtaprabha  Lokesvara.    He  also  is  one- faced  and  two-armed 
and  sits  in  the  Vajraparyahka  attitude  on  a  lotus.     He  holds  the  double 
Vajra  on  his  lap  with  his  right  hand,  and  the  lotus  on  a  water-vessel  in 
his  left. 

42*  Jaliniprabha  Lokesvara.  He  also  is  one-faced  and  two-armed 
and  sits  in  the  Vajraparyahka  attitude  on  a  lotus.  He  holds  the  sword 
on  a  lotus  in  his  right  hand  and  the  stem  of  a  lotus  against  his  chest 
with  his  left. 

43.  Candraprabha  Lokesvara.  He  also  is  one-faced  and  two-armed 
and  sits  in  the  Vajra  paryahka  attitude  on  a  lotus.  He  exhibits  the 
Vitarka  mudra  with'  his  right  hand  and  holds  the  stem  of  a  lotus  against 
the  chest  with  his  left* 


APPENDIX  399 

44.  Avalokita  Lokesvara.  He  also  is  one-faced  and  two-armed  and 
sits  in  the  same  attitude  on  a  lotus.  He  wields  the  sword  in  his  right 
hand  and  holds  the  stem  of  a  lotus  against  the  chest  with  his  left* 

45*  Vajragarbha  Lokesvara.  He  also  has  the  same  number  of 
hands  and  faces  as  No.  44.  He  holds  the  Vajra  in  his  right  hand  and 
the  stem  of  a  lotus  in  his  left. 

46.  Sagaramati  Lokesvara.      He  is  in  all  respecrs  identical  with 
No.  44  except  that  he  holds  the  double  Vajra  in  his  right  hand. 

47.  Ratnapani  Lokesvara*    He  also  is  identical  with  No.   44  in   all 
respects,  except  that  he  holds  the  sword  in  his  left  hand   and   displays 
the  Varada  mudra  with  his  right, 

48.  Gaganaganja  Lokesvara.     He  also  is  identical  with  No.  44  in  all 
respects  except  that  he  exhibits  the  Vitarka   mudra  in  his  right  hand 
and   the  book  in  his  left. 

49.  Akasagarbha  Lokesvara.    He  also  is  identical  with    No.    44  in 
all  respects,  except  that  here  the  god  exhibits  the  Varada  pose  in    the 
right  hand  and  the  stem  of  a  lotus  in  the  left. 

50.  Ksitigarbha  Lokesvara.    He  also  is  identical  with  No.  44  except 
that  here  the  god  carries  a  tray  of  gems  in  his  right  hand  and  displays 
the  Varada  mudra  in  his  left. 

51.  Aksayamati  Lokesvara.      He  also  is   identical  with  No.  44, 
except  that  he  holds  the  rosary  in  his  right  hand  and    the    lotus  on    a 
water-vessel  against  the  chest  with  his  left. 

52.  Srstikanta   Lokesvara.    He  is  one-faced  and  two-armed  and 
stands  on  a  lotus.    He  displays  the  Varada   pose  with  his  right  hand, 
while  his  empty  left  hand  rests  near  his  navel.    A  large  number  of 
four-armed  gods  issue  from  various  parts  of  his  body,   while  Amitabha 
appears  over  his  head. 

53.  Samantabhadra  Lokesvara.    He  is  one-faced  and  two-armed  and 
sits  in  the  Vajraparyanka  attitude  on  a  lotus.    He  exhibits  the  Varada 
pose  with  his  right  hand,  and  holds  the  stem  of  a  lotus  against  the  chest 
with  his  left. 

54.  Mahasahastabhuja  Lokesvara.    In  all  respects  he  is  identical 
with  No.  53,  with  this  difference  that  here  the    god  wields  the  sword 
in  his  right  hand  and  displays  the  Varada  mudra  with  his  left. 

55.  Maharatnakirti  Lokesvara.  .  He  is  three-faced  and  six-armed 
and  stands  on  a  lotus*    He  holds  the  fruit,  the  Utpala  and  the  conch 
in  his  three  right  hands,  and  displays  the  bow,  the  whip  and' the  Namas- 
kara  mudra  in  his  three  left.  -         *  *   '  "r  ' 


400  BUDDHIST  ICONOGRAPHY 

56.  Mahasankhanatha    Lokesvara.      He    is    identical  in  all  res- 
pects with  No  55,  except  that  he   bears   different    symbols.     Here  the 
god  shows  the  Namaskara  mudra,  and  the  two  Vajras  in  his  three  right 
hands,  while  his  three  left  hold  the  noose,  the  arrow  and  the  Ghanta. 

57.  Mahasahasrasuryya  Lokesvara.     He  is   eleven-faced  and  eight- 
armed  and  stands  on  a  lotus.     Each  of  his  two  principal  hands  exhibits 
the  Abhaya  pose  against  his   chest.      The   remaining  hands  show  the 
rosary,  the  Cakra  and  the  Varada  pose  in  the  three  right  hands  and  the 
Utpala,  the  bow  charged  with  an  arrow,  and  the  vessel  in  the  three  left* 
This  form  of  Lokesvara  is  very  popular  in  Tibet. 

58.  Maharatnakula   Lokesvara.     He  is  three-faced  and   six-armed 
and  stands  on  a   lotus.      The    head   on   the     top     represents      Amita- 
bha.     He  carries  the  sword,  the  Utpala  and  the  rosary  in  his  three  right 
hands  and  the  book,  the  lotus  and  the  Utpala  in  the  three  left. 

59.  Mahapatala    Lokesvara.     He    is   three-faced     and     six-armed 
and  stands  on  a  lotus.     He  holds  in  his  three  right  hands  the  Vajra,   the 
Visvavajra  and  the  Utpala,  and  in  his  three  left,  the  banner,  the  Ghanta 
and  the  Kamandalu. 

60.  Mahamanjudatta  Lokesvara.     In  all  other  respects  he  is  similar 
to  No.  59.     But  he  carries  the  Ghanta,  the  sword,  and  the  Ratnapallava 
in  his  three  right  hands,  and  the  Vajra,  the  Ghanta  and  the  Utpala  in  his 
three  left. 

61.  Mahacandrabimba  Lokesvara.     He  is  thiee-faced  and  six-armed 
and  stands  on  a  lotus.    He  holds  the  arrow,  the  Utpala  and  the  fruit  in 
his  three  right  hands,  and  the  bow,  the  Vajra  and  the  Cakra  in  his  three 
left.     The  head  on  the  top  probably  represents  Amiiabha. 

62  Mahasuryyabimba  Lokesvara.  He  is  identical  in  all  respects 
with  No.  61,  except  that  here  the  god  carries  two  Vajras  and  the  Cakra 
in  his  three  right  hands,  and  two  Utpalas  and  the  bowl  of  gems  in  his 
three  left. 

63.  Maha-Abhayaphalada  Lokesvara.  He  also  is  similar  in  form 
to  No.  61,  except  that  he  holds  the  Vajra,  the  sword  and  the  Utpala 
in  his  three  right  hands,  and  two  Ghantas,  and  the  book  in  his  three 
left. 

64  Maha*Abhayakan  Lokesvara.  He  also  is  similar  in  form  to 
No.  61,  but  the  symbols  in  his  hands  are  different.  Here  the  god  holds 
the  book  against  the  chest  with  his  two  principal  hands,  the  Vajra  and 
the  rosary  in  his  right,  and  the  Ghanta  and  the  Tridandi  in  his  left. 


401 


Fig.  1(A) 
Hayagriva  Lokesvara 


Fig.  2  (A) 
Mojaghanjabala  Lokesvara 


Fig.  3(A) 
Halahala  Lokesvara 


Fig.  4(A)  Hariharihari 
Vahana  Lokesvara 


51 


402 


Fig.  5(A) 
Mayajalakrama  Lokesvara 


Fig.  6(A) 
Sadaksan  Lokesvara 


Fig.  7(A) 
"Anandadi  Lokesvara 


Fig.  8(A) 
Vasyadhikara  Lokesvara 


403 


Fig.  9(A) 
Potapada  Lokesvara 


Fig.  10(A) 
Kamandalu   Lokesvara 


Fig.  11(A) 
Varadayaka  Lokesvara 


Fig.  12(A) 
Jatamukuta  Lokesvara 


404 


Fig.  13(A) 
Sukhavati  Lokesvara 


Fig.  14(A) 
Pretasantarpana  Lokesvara 


Fig.  15(A) 
Mayajalakramakrodha-Lokesvara 


Fig.  16(A) 
Sugatisandarsatxa  Lokesvara 


405 


Fig.  17(A) 
Nilakantha  Lokesvara 


Fig.  18(A)  Lokanatha- 
Raktaryyavalokitesvara 


Fig.  19(A) 
Trilokasandarsana  Lokesvara 


Fig.  20(A) 
Siihhanatha  Lokesvara 


406 


Fig.  21  (A) 
Khasarpana  Lokesvara 


Fig  22(A) 
Manipadma  Lokesvara 


Fig.23(A) 
Vajradharma  Lokesvara 


Fig.  24(A) 
Pupala  (?)  Lokesvara 


407 


Fig.  25(A) 
Ufnauti  (?)  Lokesvara 


Fig.  26(A) 
Vrsnacana  Lokesvara 


Fig.  27(A) 
Brahmadanda  Lokesvara 


Fig.  28(A) 
Acata  Lokesvara  (?) 


408 


Fig.  29(A) 
Mahavajrasattva  Lokesvara 


Fig.  30(A) 
Visvahana  Lokesvara 


Fig.  31(A) 
Sakyabuddha  Lokesvara 


Fig.  32(A) 
Santasi  Lokesvara 


409 


Fig.  33(A) 
Yamadanda  Lokesvara 


Fig.  34(A) 
Vajrosmsa    Lokesvara 


Fig.  35(A) 
Vajrahuntika  Lokesvara 


Fig.  36(A) 
Jnanadhatu  Lokesvara 


52 


410 


Fig.  37(A) 
Karandavyuha  Lokesvara 


Fig.  38(A)  Sarvanivarana- 
Viskambhl  Lokesvara 


Fig.  39(A)     Sarvasokata 
monirghata  Lokesvara 


Fig.  40(A) 
Pratibhanakakuta  Lokesvara 


411 


Fig.  41(A) 
Amrtaprabha  Lokesvara 


Fig.  42(A) 
Jalimprabha  Lokesvara 


Fig,  43(A) 
Car»draprabha  LokesVara 


Fig.  44(A) 
Avalokita  Lokesvara 


412 


Fig.  45(A) 
Vajragarbha  Lokesvara 


Fig.  46(A) 
Sagaramati  Lokesvara 


Fig.  47(A) 
Ratnapani  Lokesvara 


Fig.  48(A) 
Gaganaganja  Lokesvara 


413 


Fig.  49(A) 
Akasagarbha  Lokesvara 


Fig.  50(A) 
Ksitigarbha  Lokesvara 


Fig.  51(A) 
Aksayamati  Lokesvara 


Fig.  52(A) 
SrstikantS  Lokelvara 


414 


Fig.  53(A) 
Samantabhadra  Lokesvara 


Fig.  54(A) 
Mahasahasrabhuja  Lokesvara 


Fig.  55(A) 
MahjLratnakirti  Lokesvara 


Fig.  56(A) 
Mahasahkhanatha  Lokesvara 


415 


Fig.  57(A) 
Mahasahasrasuryya  Lokesvara 


Fig.  58(A) 
Maharatnakula  Lokesvara 


Fig.  59(A) 
Mahapatala  Lokesvara 


Fig.  60(A) 
Mahamanjudatta  Lokesvara 


416 


Fig.  61(A) 
Mahacandrabimba  Lokesvara 


Fig.  62(A) 
Mahasuryyabimba  Lokesvara 


Fig.  63(A) 
Maha-Abhayaphalada  Lokesvara 


Fig.  64(A) 
MahS-Abhayakari  LokesVara 


417 


Fig.  65(A) 
Mahamanjubhuta  Lokesvara 


Fig.  66(A) 
Mahavisvasuddha  Lokesvara 


Fig.  67(A) 
Mahavajradhatu  Lokesvara 


Fig.  68(A) 
Mahavajradhrk  Lokesvara 


53 


418 


Fig.  69(A) 
Mahavajrapani  Lokesvara 


Fig.  70(A) 
Mahavajranatha  Lokesvara 


Fig.^  7KA) 
Amoghapasa  Lokesvara 


Fig.   72(A) 
Devadevata  Lokesvara 


419 


Fig.  73(A) 
Pindapatra  Lokesvara 


Fig.  74(A) 
Sarthavaha  Lokesvara 


Fig.  75(A) 
Ratnadala  Lokesvara 


Fig.  76(A) 
Visnupani  Lokesvara 


420 


Fig.  77(A) 
Kamalacandra  Lokesvara 


Fig.  78(A) 
Vajrakhanda  Lokesvara 


Fig.  79(A) 
Acalaketu  Lokesvara 


Fig.  80(A) 
Sirisara  Lokesvara 


421 


Fig.  81  (A) 
Dharmacakra  Lokesvara 


Fig.  82(A) 
Harivahana  Lokesvara 


Fig.  83(A) 
Sarasiri  Lokesvara 


Fig.  84(A) 
Harihara  Lokesvara 


422 


Fig.  ^ 

Sirhhanada  Lokesvara 


Fig.  86(A) 
Visvavajra  Lokesvara 


Fig.  87(A) 
Amitabha  Lokesvara 


Fig.  88(A) 
Vajrasattvadhatu  Lokesvara 


423 


Fig.  89(A) 
Visvabhuta  Lokesvara 


Fig.  90(A) 
Dharmadhatu  Lokesvara 


Fig.  91(A) 
Vajradhatu  Lokesvara 


Fig.  92(A) 
Sakyabuddha  Lokesvara 


424 


Fig.  93(A) 
Cittadhatu  Lokesvara 


Fig.  94(A) 
Cintamani  Lokesvara 


Fig.  95(A) 
Santamati  Lokesvara 


Fig.  96(A) 
Manjunatha  Lokesvara 


425 


Fig.  97  (A) 
Visnucakra  Lokesvara 


Fig.  ^ 

Krtanjali  Lokesvara 


Fig.  99(A) 
Visnukanta  Lokesvara 


Fig.  100(A) 
Vajrasrsta  Lokesvara 


54 


426 


Fig.  101(A) 
Sahkhanatha  Lokesvara 


Fig.  102(A) 
Vidyapati  Lokesvara 


Fig.  103(A) 
Nityanatha  LokeSvara 


Fig.  104(A) 
Padmapani  Lokesvara 


427 


Fig.  105(A) 
Vajrapani  Lokesvara 


Fig.  106(A) 
Mahastbamaprapta  Lokesvara 


Fig.  107(A) 
Vajranatha  Lokesvara 


Fig.  108(A) 
Srimad-Aryavalokitesvara 


428  BUDDHIST  ICONOGRAPHY 

65.  Mahamanjubhuta  Lokesvara.     He  also  is   similar  to  No.   61, 
with  this  difference  that  here  the  god  carries  the  sword,   the  Vajra  and 
the  Kamandalu  in  his  three  right  hands,  and  the  rosary,  the  Utpala    and 
the  bell  in  his  three  left. 

66.  Mahavisvasuddha  Lokesvara.  He  is  four-faced  and  eight-armed 
and  stands  on  a  lotus.    He  carries  in  his  four  right  hands  the    sword, 
the  flag,  the  Vajra  and  the  goad,  while  the  four  left  have  the  GhantS, 
the  conch,  the  Utpala  and  the  lotus. 

67.  Mahavajradhatu  Lokesvara.    He  is  identical  with  No.  66  in  all 
respects  but  the  symbols  differ.    Here  the  god  carries  the  Vajra,  the 
bow,  the  Trisula  and  the  sword  in  his  four  right  hands,  and  the  Ghanta, 
the  arrow,  the  Kamandalu  and  the  noose  in  his  four  left. 

68.  Mahavajradhrk    Lokesvara*       He   also  is  identical    in  form 
with  No,  66,  with  this  difference  that  here  the  god  carries  the  sword, 
the  Vajra,  the  bow,  and  the  Ankusa  in  his  four  right  hands,  and  the 
Utpala,  the  Ghanta,  the  arrow  and  the  noose  in  his  four  left. 

69.  Mahavajrapani  Lokesvara.    He  also  is   identical  with  No.   66, 
except  that  here  the  god  carries  the  sword,  the  goad,  the  Gada,  and  the 
rosary  in  his  four  right  hands  and  the  Cakra,  the  noose,  the  Utpala  and 
the  book  in  his  four  left. 

70.  Mahavajranatha  Lokesvara.    He  is  three-faced  and  eight-armed, 
and  stands  on  a  lotus.     He  holds  the  rosary  and  the  noose  and  displays 
the  Abhaya  and  Varada  poses  in  his  four  right  hands.    The  three    left 
shows  the  book,  the  Tridandi  and  the  lotus,  while  the  empty    fourth 
rests  near  the  navel. 

71.  Amoghapasa  Lokesvara.      He  is   four-faced  and  eight-armed 
and  stands  on  a  lotus.    He  carries  in  his  four  right    hands  the  Vajra, 
the  sword,  the  goad  and  the  bow,  while  the  four  left  carry  the  Ghanta, 
the  Ttidandl,  the  noose  and  the  arrow. 

72.  Devadevata  Lokesvara.    He  is  similar  to  No.   71,  with  this 
difference  that  here  the  god  carries  the  Vajra,  the  bow,    the  Trisula 
and  the  sword  in  his  four  right  hands,   and  the   bell,  the  arrow,  the 
jewel  (?)  and  the  noose  in  his  left. 

73.  Pindapatra  Lokesvara.    He  is  one-faced  and  two-armed  and 
stands  on  a  lotus.    He  holds  the  Pindapatra  (the  bowl)  in  his  two  hands 
near  the  navel. 

74.  Sarthavaha  Lokesvara.    He  is  similar  to  No.  73  in  all  respects, 
except  that  here  the  god  displays  the  Varada  mudra  in  his  right  hand, 
and  carries  the  Pindapatra  (the  bowl)  in  his  left. 


APPENDIX  429 

75.  Ratnadala  Lokesvara.    He  also  is  similar  to  No.  73,  in  all    res- 
pects except  that  here  he  displays  the  Varada  pose    in  his  right  hand, 
while  his  empty  left  touches  his  left  shoulder. 

76.  VisnupSni  Lokesvara     He  again  is  similar  in  form  to  No.   73, 
except  that  here  he  carries  the  Trisula  in  his  right  hand  and  a  lotus   bud 
in  his  left, 

??•    Kamalacandra  Lokesvara.    He  also  is  similar  to  No*  73,   except 
that  here  he  displays  the  Vitarka  mudra  in  his  two  hands. 

78.  Vajrakhanda  Lokesvara.    He  also  is  similar  to  No.   73  in  all 
respects,  except  that  here  the  god  holds  the  lotus  bud  in  his  right    hand 
and  the  book  against  his  chest  with  the  left. 

79.  Acalaketu  Lokesvara.    He  also  is  similar  to  No.    73.     But  he 
displays  the  Abhaya  mudra  in  the  right  hand  and  the  Pindapatra   (the 
bowl)  in  the  left.    A  chowrie  rests  against  his  right  shoulder, 

80.  Sirisara  (?)   Lokesvara.    He  also  is  similar  to  No.  73  in  all  res- 
pects, except  that  here  he  wields  the  sword  in  his  right  hand   and  holds 
the  noose  in  his  left. 

81.  Dharmacakra  Lokesvara.    He  again  is  similar  to  No.  73,  except 
that  here  he  carries  the  Vajra  in  his  right  hand  and  the  axe  in  his  left. 

82.  Harivahana  Lokesvara,    He  also  is  identical  with  No.   73,   with 
the  difference  that  here  the  god  carries  the  Kamandalu  in  his  right  hand 
and  the  chowrie  in  his  left. 

83.  Sarasiri  (?)  Lokesvara.     He  also  is  identical  with  No.   73.    The 
difference  is  that  here  the  god  holds  the  Trisula  in  his  right  hand   and 
the  lotus  in  his  left. 

84.  Harihara  Lokesvara.    He  is  identical  with  No.   73   except  that 
here  he  displays  the  Vyakhyana  mudra  with  his  two  hands  against  the 
chest. 

85.  Simhanada  Lokesvara.    Similar  to  No,  73,     but  here  the*  god 
holds  the  chowrie  against  his  shoulder  with  his  right  hand  while  the 
empty  left  rests  near  his  navel. 

86.  Visvavajra  Lokesvara.    He  also  is  similar  to  No.   73    with  the 
difference,  that  here  the  god  displays  the  Varada    pose  with  his  right 
hand  and  holds  a  snake  in  his  left, 

87.  Amitabha  Lokesvara.    Similar  to  No.  73,  except  that  here  the 
god  holds  the  chowrie  in  his  right  hand  and  the  wheel  in  his  left, 

88.  Vrjrasattvadhatu  Lokesvara.    Similar  to  No.   73,  except  that 
here  he  holds  the  Cakra  in  his  right  hand  and  the  conch  in  his  left. 


430  BUDDHIST  ICONOGRAPHY 

89.  Visvabhuta  Lokesvara.    Similar  to  No.  73  in  form,    but  here 
he  holds  the  rosary  in  his  right  hand  and  the  lotus  in  his  left* 

90.  Dharmadhatu  Lokesvara.     Identical  with  No.  73  in  form,  but 
here  the  god  holds  in  his  two  hands  the  water-pot  near  his  navel. 

91.  Vajradhatu  Lokesvara.    Identical  with  No.  73  except  that    here 
the  god  displays  the  Varada   mudra  in  his  right  hand  and  holds  the 
lotus  in  his  left. 

92.  Sakyabuddha  Lokesvara.     Also  similar  to  No.  73,   except  that 
he  carries  the  Vajra  in  his  right  hand  while  his  empty  left  is  held  near 
the  navel. 

93.  Cittadhatu  Lokesvara.     Similar  to  No.  73  except  that  he  holds 
the  image  of  a  Jina  (probably  Amitabha)  in  his  right  hand  and  displays 
the  Abhaya  pose  with  his  left. 

94.  Cintamani  Lokesvara.     Also  similar  to  No.    73,   except  that 
here  he  carries  the  Caitya  in  his  right  hand  while  the  empty  left  is  held 
near  his  navel. 

95.  Santamati  Lokesvara.     Similar  to  No.  73,  with  the  difference 
that  he  exhibits  the  Varada  pose  with  his  right  hand   and  holds  the 
bough  of  a  tree  in  his  left. 

96.  Manjunatha  Lokesvara.      Also  similar  to  No.   73,   but  here 
the  god  holds  the  rosary  in  his    right  hand  and  the  book  against  his 
chest  with  his  left. 

97.  Visnucakra  Lokesvara.     Similar  to  No.  73,  except  that  here  he 
holds  the  Cakra  in  his  right  hand  and  the  Gada  in  his  left. 

98.  Krtanjali  Lokesvara.     Similar  to  No.  73   except  that  here  the 
god  exhibits  the  Anjali  against  his  chest  with  his  two  hands. 

99.  Visnukanta  Lokesvara.     He  again  is  identical  with  No.   73  in 
all  respects,  except  that  here  the  god  displays  the  Varada  mudra  with 
his  right  hand  and  the  book  against  his  chest  in  his  left. 

100.  Vajrasrsta  Lokesvara.    Identical  with  No.  73,     the  difference 
lies  in  the  fact  that  here  the  god  carries  the  chowrie  in  his  right  hand 
and  the  lotus  in  his  left. 

101.  Sankhanatha  Lokesvara.     Similar  to  No.  73,  with  the  difier- 
ence  that  here  the  god  holds  the  conch  against  his  chest  with  his  -right 
hand  and  the  lotus  in  his  left. 

102;  Vidyapati  Lokesvara.  Also  similar  to  No.  73,  except  that 
here  the  god  shows  the  empty  right  hand  against  his  chest  while  his  left 
holds  the  lotus.  The  chowrie  hangs  from  his  right  shoulder. 


APPENDIX  431 

103.  Nityanatha  Lokesvara.    He  is  identical  with  No,  73,  with  the 
difference  that  here  the  god  holds  the  rosary  in  his  right  hand  over  the 
book  held  in  his  left 

104.  Padmapani  Lokesvara.    He  also  is  similar  in  form  to  No.  73, 
with  the  difference  that  here  the  god  displays  the  Varada  pose  with 
his  right  hand  and  holds  the  stem  of  a  lotus  in  his  left, 

105.  Vajrapani  Lokesvara.    He  again  is  identical  with  No.   73,  in 
all  respects  except  that  here  the  god  holds  the  Vajra  on  his  head  with 
his  right  hand,  while  the  empty  left  is  held  near  the  navel.    The  attitude 
in  which  he  stands  is  also  different*    He  shows  the  dancing  attitude   in 
Ardhaparyanka. 

106.  Mahasthamaprapta  Lokesvara.    He  is  similar  in  all  respects 
to  Padmapani  Lokesvara  (No.  104). 

107.  Vajranatha  Lokesvara.     Identical  with  No.   105,  Vajrapani 
Lokesvara,  with  the  only  difference  that  here  the  god  holds  the  lotus  in 
his  left  hand. 

108.  Srfmadaryavalokitesvara.      He   is  one-faced  and  two-armed 
and  stands  on  a  lotus.    He  holds  the  Vajra  in  his  right  hand  which 
rests  against  his  chest  while  his  left  holds  the  stem  of  a  lotus    near 
the'navel. 


GLOSSARY 

Abhaya  mudra,  or  the  gesture  of  protection.  The  hand  showing  this 
mudra  should  be  slightly  elevated  and  bent  with  the  palm  turned 
outward,  the  fingers  being  outstretched  and  elevated.  This  mudra 
should  be  distinguished  from  the  Varada  mudra  in  which  case  the 
hand  is  stretched  downwards  with  the  fingers,  instead  of  being 
elevated,  pointed  downwards  ;  and  also,  from  the  Capetadana 
mudra,  which  shows  the  right  hand  menacingly  extended  upwards, 
just  as  is  done  in  dealing  a  slap. 

Aksamala  or  Mala,  is  the  string  of  beads  such  as  is  carried  by  the 
Roman  Catholic  priests.  The  beads  consist  of  a  kind  of  dried 
fruit,  called  in  Sanskrit,  Rudraksa.  It  may  be  made  with  other 
material  also,  such  as  crystals,  etc. 

Alldha,  a  particular  Asana,  or  attitude  of  legs,  in  all  respects  similar  to 
the  attitude  adopted  in  drawing  the  bow  charged  with  an 
arrow.  The  right  leg  is  outstretched  while  the  left  is  slightly  bent. 
This  attitude  should  be  distinguished  from  the  Pratyalldba  attitude 
in  which  case  the  left  leg  is  outstretched  while  the  right  is  slightly 
bent  and  placed  behind. 

Anjali,  name  of  a  mudra,  also  known  as  the  Sarvarajendra  mudra,  or  the 
Samputanjali.  It  is  the  mudra  in  which  the  two  hands  are  clasped 
against  the  chest,  palm  to  palm,  both  of  which  are  extended 
upward  with  all  fingers  erect  or  slightly  bent.  This  is  the 
characteristic  mudra  of  Sadaksari  Lokesvara  and  is  also  exhibited 
by  Namasangiti. 

Ankusa,  elephant  goad.  See  the  weapon,  for  instance,  in  the  image  of 
Parnasabarl.  When  the  goad  is  surmounted  by  a  Vajra,  it  is 
called  Vajrankusa. 

Anuvyanjanas,  see  Laksanas. 

Ardhaparyahka,  also  called  Maharajallla,  is  a  particular  Asana  of  sitting. 
Both  the  legs  are  on  the  same  pedestal ;  one  of  the  knee  is  raised 
while  the  other  is  bent  in  the  usual  position  of  a  Buddha.  This 
Asana  should  be  distinguished  from  the  Lalitasana  in  which  case 
one  of  the  legs  is  pendant,  while  the  other  is  bent  in  the  usual 
position  of  a  Buddha,  When  both  the  legs  are  pendant,  the  attitude 
is  called  Bhadrasana. 


GLOSSARY  433 

Asana,  the  word  in  Sanskrit  may  mean  a  seat,  a  mystic  or  any  attitude 
exhibited  in  the  lower  limbs.  The  word  Padmasana  means  the 
seat  of  lotus.  Similarly,  Simhasana  means  the  lion^throne  or  the 
seat  of  a  lion*  The  word  Sukhasana  means  any  easy  attitude  of 
sitting.  It  may  be  the  Paryankasana,  Lalitasana  or  the  Ardhapar* 
yankasana.  In  fact,  in  the  Sadhanamala,  the  word  Sukhasana 
has  not  been  used  in  a  technical  sense.  When  used  in  a  technical 
sense  Asana  is  of  various  kinds,  such  as  the  Paryafikasana, 
Vajraparyankasana,  Lalitasana,  Ardhaparyankasana,  Bhadrasana, 
Alldhasana,  Pratyalidhasana  or  the  Natyasana,  a  variety  of  Ardha- 
paryanka. 

Asoka,  the  absence  of  sorrow  ;  but  the  word  is  always  used  to 
designate  a  particular  kind  of  tree  which  blossoms  forth  red 
flowers.  From  time  immemorial,  this  tree  is  regarded  as  sacred  in 
India.  It  is  believed  that  kicks  at  the  tree  by  chaste  women  cause 
it  to  blossom. 

Bana,  see  Sara. 

Bhumisparsa,  also  called  Bhumisparsana  or  the  Bhusparsa,  is  the  name 
of  a  mudra.  The  right  hand  exhibiting  this  mudra  has  the  palm 
turned  inward  and  the  fingers  outstretched,  with  the  tips  touching 
the  ground.  This  mudra  should  be  distinguished  from  the  Varada 
mudra  in  which  case  tips  do  not  touch  the  ground  and  the  palm 
instead  of  being  turned  inward  is  turned  outward.  The  deity 
showing  the  Bhusparsa  mudra  must  sit  in  the  Vajraparyahka 
attitude. 

Bhutas,  a  class  of  mischievous  spirits  or  hobgoblins  who,  without 
any  provocation  whatever,  are  supposed  to  injure  men  and 
destroy  them  mysteriously. 

Bija,  means  a  'seed'.  In  Tantra  it  signifies  the  Germ-Syllable  which 
takes  the  form  of  a  deity  in  the  course  of  meditation. 

BIjapura,  citron,  a  characteristic  symbol  of  Jambhala. 

Brahmakapala,  or  the  Brahmasirah>  is  the  severed  head  of  Brahma 
who  is  credited  with  four  faces  with  grey  beards  in  all  of  them 
and  the  crown  of  matted  hair.  The  Buddhist  gods,  carrying 
triumphantly  the  severed  head  of  Brahma,  display  the  aversion 
of  the  Buddhists  towards  the  Hindus,  as  well  as,  the  superiority 
of  their  gods  to  the  gods  of  the  alien  faith. 

Brahmamukha,  the  face  of  Brahma  containing  four  faces.    The  Brah* 

mamukha  is  superimposed  on  the  head  of  Paramasva. 
55 


434  BUDDHIST  ICONOGRAPHY 

Brahma  si  rah  see  Brahmakapala. 

Caitya,  or  the  Stupa,  which  represents  the  Buddhist  Universe,  is  the 
Buddhist  sanctuary,  sometimes  square  and  sometimes  round,  with 
spires  or  steps  on  the  capital.  Each  spire  or  step  represents  a 
heaven,  the  uppermost  portion  being  a  point  which  is  supposed 
to  be  the  highest  peak  of  Mount  Sumeru,  a  mythical  mountain, 
whence  the  Bodhicitta  loses  itself  in  ounya.  On  the  four  sides  of 
the  Caitya  the  figures  of  the  Dhyani  Buddhas  appear.  Vairocana  is 
sometimes  present.  The  corners  are  occupied  by  the  figures  of  the 
Divine  Buddhasaktis  or  their  symbolic  representations  in  the 
form  of  Yantras.  The  Caitya  may  show  further,  in  the  four  cardinal 
points,  the  Caturmaharajikas  or  the  Great  Rulers  of  the 
Quarters,  namely,  Vaisravana,  Virupaksa,  Vtrudhaka  and  Dhrtara- 
stra.  See  Stupa. 

Cakra,  Wheel  or  disc.  It  is  the  characteristic  symbol  of  the  Hindu 
God  Visnu  or  Krsna. 

Camara,  Chowrie  or  the  fly-whisk  consisting  of  the  tail  of  a  Yak. 

Capa,  also  called  Dhanus,  is  the  bow.  It  is  generally  carried  in  the  left 
hand.  With  the  bow  and  the  arrow  Marlci  inflicts  pain  to  the 
Mar  as  or  wicked  beings. 

Casaka,  Wine-glass. 

Caturmudra — See  Sanmudra. 

Chintamani — the  gem  that  satisfies  all  desires.    The  jewel  is  sometimes 

represented  in  the  form  of  a  small  round  object  and  sometimes  in 
the  shape  of  a  flame. 

Dakini,  same  as  Sakti.    See  Sakti. 

Damaru,  small  drum,  such  as  is  carried  by  the  Hindu  god  Siva. 

Danda,  the  staff  or  the  mace  carried  by  Hayagrlva.  It  cannot  be-  trans- 
lated  as  the  magic  wand,  as  the  Khatvanga  serves  that  purpose. 
When  the  staff  is^  surmounted  hy  a  Vajra,  it  is  called  Vajradanda. 

Dharani  or  Dharim,  meaningless  conglomeration  of  syllables,  occasion- 
ally containing  one  or  two  intelligible  words,  used  as  a  charm 
or  prayer.  There  are  DharanvSangrahas  or  collections  of  Phara* 
nis  in  the  Nepal  Library,  with  an  astonishingly  large  nujnber  of 
Dharams  devoted  to  different  deities.  The  Ikt  giyen;iji  the 
Nepal  Catalogue  Vol.  II.  App,  p.  225,  et  sqq.  may  JbexpnsiiHed. 

Dharmacakra,  or.  Vya.khyan*  mudraris  that  gesture  of  hands. .exhibited 
by  Lord  Buddha  -while  preaching  his  first  sermon  at  ,3arnath. 
This  pose  is  depicted  variously  but  the  most  artistic  and  correct 


GLOSSARY  .  435 

representation  of  this  mudra  is  to  be  found  in  the  celebrated 
Prajnaparamita  image  from  Java.    See  Getty  :  GNB,  p.  187. 

Dhanus,  same  as  Capa.    See  Capa. 

Dhupa,  incense  stick,  which  when  burns,  emits  fragrance. 

Dhyana,  meditation  ;  it  refers  generally  to  that  portion  of  the  Sudhana 
in  which  instruction  is  given  as  to  the  description  of  the  deity 
with  whom  the  worshipper  is  to  identify  himself. 

Dhyana,  or  Samadhi  mudra  ;  the  position  of  hands  while  in  meditation. 
The  hands  with  palm  upwards  lie  one  upon  the  other  on  the  lap 
with  all  fingers  stretched.  This  is  the  characteristic  mudra  of 
Amitabha. 

Dhyanasana,  or  Vajraparyahkasana,  or  Vajrasana,  is  the  meditative 
pose,  the  two  legs  being  firmly  locked  with  both  the  soles  apparent, 
the  characteristic  sitting  attitude  of  the  Dhyani  Buddhas.  Some* 
times  a  small  thunderbolt,  shown  on  the  seat  of  the  god,  indicates 
the  meditative  attitude.  Dhyanasana  should  be  distinguished 
from  the  Paryahka  attitude  in  which  case  the  legs  are  placed  one 
upon  the  other  with  both  the  soles  invisible. 

Dlpa,  lamp,  the  sacred  lamp  fed  with  ghee. 

Gada,  mace. 

Garuda,  mythical  bird  supposed  to  be  the  destroyer  of  all  serpents. 
The  Hindus  regard  him  as  the  Vahana  of  Visnu.  Garuda  is 
represented  as  a  huge  bird  with  a  human  body,  two  wings  and 
sharp  beaks,  generally  with  hands  clasped  against  the  chest. 

Ghanta,  bell ;  when  the  bell  is  surmounted  by  a  Vajra,  it  is  called  Vajra- 
ghanta,  which  is  a  symbol  of  Vajrasattva. 

Jatamukuta,  the  crown  of  matted  hair.  The  hair  is  tied  up  above  the 
head  in  such  a  way  as  to  resemble  a  crown  or  a  tiara. 

Kalasa,  is  the  ordinary  water-vessel  of  metal  or  earth.  It  is  different 
from  the  Kamandalu  or  Kundika,  which  is  smaller  in  size  and 
is  provided  with  a  projecting  pipe  for  discharging  water. 

Kamandalu,  see  Kalasa 

Kapala,  either  (i)  severed  head  of  a  man,  or  (ii)  the  cup  made  of  a  skull, 
or  (iii)  a  bowl.  The  skull  cup  is  of  two  kinds  ;  when  it  is  filled 
with  blood  it  is  called  Asrkkapala,  and  when  with  human  flesh  it 
is  called  Mamsakapala.  The  deities  are  supposed  to  partake  of 
the  blood  or  the  flesh  carried  in  these  cups. 

Karana,  mudra.  Any  hand  showing  this  mudra  is  outstretched  with  the 
index  and  the  little  fingers  erect,  while  the  thumb  presses  the  two 
remaining  fingers  against  the  palm  of  the  hand. 


436  BUDDHIST  ICONOGRAPHY 

Karppara,  same  as  Kapala.    See  Kapala. 

Kartri,  or  Karttari  signifies  a  small  knife  ;  sometimes  the  edge  of  it  is 
uneven  like  the  edge  of  a  saw.  It  is  called  Vajrakartri  when 
surmounted  with  a  Vajra. 

Khadga,  sword.  The  sword  in  the  hand  of  Manjusri  is  called  the 
Prajnakhadga  or  the  Sword  of  Wisdom,  which  is  believed  to 
destroy  the  darkness  of  ignorance  by  the  luminous  rays  issuing 
out  of  it. 

Khatvanga,  magic  wand  ;  the  stick  is  generally  surmounted  either  by 
Vajra  or  the  Kapala,  or  the  Trisula  or  the  banner,  or  all  of  them. 
In  any  case,  for  a  Khatvanga  the  skulls  are  necessary  and  it  will 
be  so  called  even  if  nothing  else  is  present. 

Ksepana,  the  mudra  of  sprinkling,  exhibited  by  Namasanglti.  The 
two  hands  are  joined  palm  to  palm  with  fingers  all  stretched,  the 
tips  of  which  are  turned  downwards  and  enter  into  a  vessel  con^ 
taining  nectar. 

Kundika,  same  as  Kamandalu.     See  Kalasa. 

Laksanas,  auspicious  marks ;  the  thirty^two  special  marks  of  the  Buddha, 
enumerated  in  Dharmasahgraha  attributed  to  Nagarjuna.  The 
Laksanas  are  also  enumerated  in  Getty  :  GNB,  p.  190.  Another 
class  of  minor  marks  is  called  Anuvyanjanas,  eighty  in  number, 
also  enumerated  in  the  Dharmasahgraha. 

Mala,  same  as  Aksamala.    See  Aksamala. 

Mandala,  the  magic  circle,  containing  mystic  figures  and  diagrams,  and 
figures  of  gods  and  goddesses  constituting  the  Mandala.  In  the 
Nispannayogavali  Tantra,  Kriyasamuccaya  and  the  Vajravalfoiama* 
mandalopayika  there  are  descriptions  of  a  great  number  of 
deities  constituting  the  circle. 

Mani,  same  as  Cintamani ;  see  Cintamani. 

Mantra,  mystic  syllables  sometimes  containing  a  few  intelligible  words, 
but  shorter  than  the  Dharanls.  The  Mantras  are  believed  to  be 
a  contracted  form  of  the  Dharams  and  are  meant  for  the  mass  to 
obtain  an  easy  salvation,  by  simply  muttering  them*  In  many 
instances,  the  Mantra  gives  the  name  of  the  divinity  or  his  attri* 
butes,  and  these  are  most  important  in  determining  the  names 
of  different  gods  when  the  Colophons  of  Sadhanas  are  not 
enough. 

Mayura,  peacock  ,  and  Mayurapiccha  signifies  feathers  of  a  peacock, 
Mudgara,  hammer  ;  it  may  also  mean  a  staff  or  a  mace. 


GLOSSARY  437 

Mudra,  mystic  pose  of  hand  or  hands.  Some  of  the  Mudras  can  be 
shown  by  one  hand,  such  as  the  Varada,  Abhaya,  Namaskara,  etc, 
others  require  both  the  hands  such  as  the  Anjali,  Dhartnacakra, 
and  many  others.  In  the  Sadhanamala  there  are  descriptions  of 
an  overwhelming  number  of  Mudras.  But  it  is  very  difficult  to 
comprehend  them  unless  actually  explained  by  the  priests* 

Musala,  pestle 

Nagas,  serpents.  They  have  the  character  of  water-spirits  and  are  believ- 
ed to  dwell  in  the  springs,  lakes  and  tanks,  and  have  the  power 
to  bring  or  withhold  rains.  But  if  they  are  roused  to  anger,  they 
hurl  down  rocks  from  the  mountain  tops  and  destroy  fair  cities. 
The  gods  of  the  Sadhanamala  are  fond  of  ornaments  of  eight 
lords  of  snakes. 

Nakull,  mongoose ;  the  characteristic  animal  of  Jambhala.  The 
mongoose  is  believed  to  be  the  receptacle  of  all  gems  and  when 
the  God  of  Wealth  presses  the  animal,  it  vomits  forth  all  the 
riches. 

Namaskara,  the  mudra  assumed  by  the  Bodhisattvas,  when  paying 
homage  to  the  Buddhas  or  Tathagatas,  or  by  the  minor  deities  to 
the  principal  one.  The  hand,  slightly  bent,  is  raised  above  in  a 
line  with  the  shoulder  with  fingers  outstretched  or  slightly  bent 
with  the  palm  turned  upwards. 

Nupura,  anklet ;  small  bells  are  attached  to  the  ornament  so  that  when 
the  leg  moves,  it  chimes  melodiously. 

Padma,  lotus,  which  may  be  of  any  colour  except  blue.  The  blue  lotus 
is  designated  by  the  word  Utpala  or  Nllotpala.  In  Tuntric 
works  the  Padma  is  the  day  lotus,  while  Utpala  stands  for  the 
night  lotus.  It  is  regarded  as  especially  sacred  by  all  classes  of 
Indians.  See  Getty  :  GNB,  p.  192.  When  the  lotus  shows  petals 
in  both  the  upper  and  lower  directions  it  is  called  the  Visvapadma 
or  the  double  lotus.  Padma  indicates  purity  of  descent. 

Parasu,  axe. 

Paryaixka,  see  Dhyanasana. 

Pasa,  noose  or  lasso  ;  when  a  Vajra  is  attached  at  the  end  of  it,  it  is 
called  the  Vajrapasa  or  the  adamantine  noose.  The  noose  is 
required  to  bind  the  host  of  the  Maras  and  all  other  wicked 
beings. 

Patra,  begging  bowl  or  bowl  generally  found  in  the  images  of  the  five 
Dhyani  Buddhas  and  of  Buddha  5akyasimha.  Sometimes  the 
Kapala  is  used  in  the  Sadhanamala  to  designate  a  bowl  (See 
Kapala).  Getty  records  a  Buddhist  legend  to  show  how  a  Patra 
came  in  the  possession  of  the  Buddha.  Getty  :  GNB,  p.  193, 


438  BUDDHIST  ICONOGRAPHY 

Prajna,  see  oakti. 

Preta  or  Mrtaka  or  Sava,  always  means  a  corpse  or  ghost  in  Indian 
Buddhist  Iconography. 

Pustaka,  book  in  the  form  of  a  Manuscript  which  represents  the 
Prajnaparamita  or  the  Book  of  Transcendental  Knowledge. 
Nagarjuna  is  said  to  have  restored  the  Scripture  from  the  nether 
regions.  The  book  is  carried  by  several  Buddhist  gods,  notably, 
Prajnaparamita,  Manjusrl,  Sarasvati  and  Cunda. 

Ratna,  jewel.  The  word  Triratna  signifies  the  three  Jewels,  Buddha, 
Dharma  and  Sangha.  Similarly,  there  are  different  groups  of 
jewels,  such  as  the  seven  jewels  or  the  sixteen  jewels.  For  the 
enumeration  of  the  seven  jewels,  see  Getty  :  GNB,  p.  194.  See 
also  Cintamani. 

Sadhana,  procedure  of  worship  for  the  invocation  of  Buddhist  gods, 
and  not  *charm'  as  translated  by  C.  Bendall.  The  Sadhanamala 
or  the  Sadhanasamuccaya  is  a  collection  of  312  Sadhanas. 

Sakti,  or  Prajna,  Vidya,  Svabha  Prajna  or  Svabha- Vidya,  the  female 
counterpart  of  a  Bodhisattva.  All  goddesses  are  regarded  as 
female  counterparts  of  one  or  another  of  the  Bodhisattvas. 
The  Saktis  are  either  represented  singly  or  in  yab-yum,  i,  e.  in 
the  actual  embrace  of  the  god  to  whom  she  is  affiliated  as  a  Sakti. 
This  female  counterpart  is  called  Svabha'  (own  light,  being  the 
principal  god's  own  creation).  She  sometinles  carries  the  same 
weapons  as  are  carried  by  the  principal  god. 

Samadhi,  meditation  ;  the  deepest  form  of  abstract  meditation.  For 
a  description  of  the  Samadhi  mudra  see  Dhyanamudra. 

Sankha,  conch-shell  ;  it  is  especially  given  as  a  symbol  to  the  gods 
as  the  sound  viabrated  through  a  shell  penetrates  far  and  wide. 
The  conch-shell  seems  to  have  been  extensively  used  in  wars  by 
ancient  Indians. 

Sanmudra,  the  six-mudras  ;  the  meaning  of  this  mudra  is  quite 
different  from  the  mudra  meaning  mystic  gestures.  It  has  been 
translated  as  auspicious  ornaments  or  symbols.  The  six  ornaments 
are  enumerated  in  the  following  verse  in  the  Sadhanamala  : 

"Kanthika  rucakam  ratnamekhalam  bhasmasutrakam    I 
Sat  vai    pSramita  eta  mudrarupena  yojitah"  II 

"The  torque,  the  bracelet,  the  jewel,  the  girdle,  the  ashes  and  the 
sacred  thread  are  ascribed  to  the  gods  in  the  form  of  mudras 
(ornaments),  which  represent  the  six  PSramitas". 


GLOSSARY  439 

These  ornaments  or  symbols  are  generally  of  human  bones,  the 
Khatvanga  being  the  sacred  thread.  When  one  of  the  six  is 
absent  they  are  called  Pancamudra,  and  Caturmudra,  when  two. 

Sara,  or  the  Sana,  is  the  arrow.  It  is  generally  carried  in  the  right  hand, 
while  the  corresponding  left  shows  the  Dhanus. 

Sava,  see  Preta. 

Siddhas,  or  Siddhapurusas  are  saints  who  have  already  attained  Siddhi 
or  perfection  in  a  Tantric  rite,  and  have  acquired  supgr-normal 
powers.  Two  groups  of  Siddhas  are  generally  recognized,  one 
consisting  of  nine  and  another  of  eighty-four*  They  were  famous 
in  the  mediaeval  age  for  their  magical  powers  and  prodigious 
deeds.  Most  of  them  hailed  from  the  East. 

Simha,  lion.  The  word  SimhSsana  means  the  lion-seat  or  the  lion- 
throne,  but  does  not  designate  a  special  attitude  of  sitting  such  as 
the  Vajrasana,  Ardhaparyankasana,  and  so  forth.  See  Asana. 

Srnkhala,  chain,  also  called  the  Vajrasrnkhala,  (which  is  the  charac- 
teristic symbol  of  Vajrasrhkhala),  when  the  chain  is  surmounted 
by  a  Vajra. 

Stupa  see  Caitya. 

Suci,  mudra  used  generally  in  the  act  of  dancing,  though  it  is  to  be 
seen  in  other  cases  also.  All  the  fingers  are  stretched  with  the 
tips  joining  at  the  end,  so  as  to  resemble  a  needle  fSuci). 

Sunya,  translated  as  'Void'  in  the  absence  of  a  suitable  and  more  ex- 
pressive word.  It  signifies  a  state  of  the  mind  after  Nirvana, 
about  which  neither  existence,  nor  non-existence,  nor  a  combina- 
tion of  the  two,  nor  a  negation  of  the  two  can  be  predicated. 
This  £unya  in  Vajrayana  is  identified  with  Compassion  which 
transforms  itself  in  the  form  of  divinities,  of  the  nature  of  Sunya, 
for  the  welfare  and  happiness  of  men.  In  Vajrayana  Sunya  is  the 
Prime  Cause  of  all  manifestation. 

Suryya,  the  sun  or  the  disc  of  the  sun  which  is  held  in  one  of  her 
hands  by  Marlci  and  which  is  the  seat  of  many  Buddhist  gods 
and  goddesses.  Rahu  is  said  to  devour  the  sun  and  the  moon. 

Svabha  Prajna,  see  Sakti. 

Tarjani,  mudra  ;  the  pose  of  the  raised  index  finger  in  a  menacing 
attitude.  In  the  hand  showing  this  mudra,  the  index  finger  only 
is  raised  while  the  other  fingers  are  locked  up  in  the  fist.  If  a 
Pasa  or  noose  appears  round  the  index  finger  it  is  called  Tar  jam* 
pasa.  The  word  Vajratarjam  signifies  thfe  Vajra  -held  in  the  fist 
while  the  index  is  raised  in  a  menacing  attitude.  .  .,  .  • ."  •  Y 


440  BUDDHIST  ICONOGRAPHY 

Tarjaniplsa,  see  Tarjam, 

Tarpana,  mudra  of  doing  homage  to  the  Departed  Fathers  ;  the  mudra 
of  Namasangiti.  Any  arm  showing  this  gesture  is  bent  and  is 
raised  upward  in  a  line  with  the  shoulder.  The  palm  of  the  hand 
is  turned  inward  with  fingers  slightly  bent  and  pointed  towards 
the  shoulder. 

Tathagatas,  the  Buddhas  who  have  attained  the  highest  state  of  perfec- 
tion according  to  the  Buddhists.  In  the  Sadhanamala,  the  word 
is  invariably  used  in  the  plural  number  with  reference  to  the 
five  Dhyani  Buddhas,  but  does  not  even  signify  Vajrasattva  or 
Vajradhara.  The  Buddhas  are  innumerable  and  have  a  hierarcy 
among  them,  the  different  orders  being  Pratyeka,  Sravaka,  Samyak- 
Sambuddha,  Jina,  Arhat,  Tathagata,  and  the  like. 

Trailokya,  pertaining  to  the  three  worlds  :  the  divine,  the  terrestrial  and 

the  infernal. 

* 
Trisula,  trident.    The  Hindu  god  Siva  is  believed  to  carry  the  trident, 

and  hence  it  is  popular  among  the  Tantra  symbols  as  most  of 
the  Tantras  are  in  the  form  of  a  dialogue  between  Siva  and 
Par  vat  I. 

Utpala,  see  Padma. 

Vahana,  the  vehicle  or  the  mount  of  gods  ;  the  mount  may  be  any 
animal  including  men,  demons  and  corpses.  Sometimes  even  the 
gods  of  an  alien  faith  serve  as  Vahanas. 

Vajra,  thunderbolt.  When  two  thunderbolts  are  crossed,  it  is  called  a 
Visva*vajra,  or  a  double  Vajra.  In  Buddhist  Tantra  the  word 
generally  designates  ounya  or  Void,  which  cannot  be  cut,  cannot 
be  destroyed,  but  which  destroys  all  evils. 

Vajradanda,  see  Danda. 
Vajraghanta,  see  Ghanta. 

Vajrahunkara,  mudra.  The  wrists  are  crossed  at  the  chest  with  two 
hands  holding  the  Vajra  and  the  bell,  both  of  which  are  turned 
inwards.  But  if  the  two  symbols  and  the  hands  are  turned  out- 
ward the  mudra  will  be  called  the  Trailokyavijaya  mudra. 

Vajrakartri,  see  Kami* 
Vajrankusa,  see  Ankusa. 
Vajraparyanka,  see  Dhyanasana. 
Vajrasrhkhala,  see  £rnkhala. 
VajratarjanI,  see  Tarjam. 


GLOSSARY  441 

Varada,  mudra,  the  gesture  of  hands  shown  by  gods  while  conferring 
boons.  The  hand  showing  this  gesture  is  pendant  with  its  palm 
outward  and  fingers  all  stretched*  Sometimes  a  jewel  is  seen 
stamped  on  the  hand  showing  the  mudra  when  it  is  known  as  the 
Ratnasamyukta- Varada,  that  is,  the  gift'bestowing  attitude  together 
with  a  jewel.  The  Mahoba  figure  of  Khadiravam  is  an  example 
of  this  kind. 

Visvapadma,  the  double  conventional  lotus.     See  Padma. 
Visvavajra,  the  double  conventional  Vajra.     See  Vajra. 

Vitarka,  mudra  assumed  in  discussion.  This  mudra  is  altogether  un- 
known in  the  Sadhanamala  and  seems  to  be  a  later  development. 
It  is,  nevertheless,  shown  by  a  number  of  forms  of  Avalokitesvara 
treated  of  in  the  Appendix  all  of  which  are  more  or  less  influenced 
by  Tibetan  art  and  iconography.  This  mudra  is  represented  with 
the  right  arm  bent,  all  fingers  erect  except  either  the  index  or  the 
ring  finger  which  touches  the  thumb  so  as  to  resemble  a  ring.  The 
hand  is  extended  forward  with  the  palm  outward. 

Vyakhyana,  mudra,  see  Dharmacakra. 

Yab-yum,  is  a  Tibetan  word  consisting  of  two  particles  yab  and  yum. 
The  word  cYab'  in  Tibetan  means  the  'honourable  father*  and 
'yum'  means  the  'honourable  mother'.  The  combined  word, 
therefore,  means  the  father  in  the  company  of  the  mother,  or  in 
her  embrace.  For  the  spiritual  significance  of  the  conception  of 
yab-yum,  see  Conclusion. 

Yaksas,  are  mis-shapen  dwarfs  who  guard  the  treasures  of  the  Northern 
mountains  and  their  chief  is  Kubera,  the  God  of  Wealth.  They 
are  usually  malignant  in  disposition  and  they  occasionally  feed  on 
human  flesh  But  the  benign  influence  of  Buddha's  teaching 
makes  them  forego  their  cruel  habits. 


56 


INDEX  OF  WORDS 


Abhayakara  Gupta,  3,  4,  47,  82,  155 
Abhidhanottara  Tantra,  4 
Abhimukhi    Bhumi,    335,     colour     335, 
symbol    335,    dhyana     335,    described 
335,  images  335 

Acala  154,  155,  colour  255,  direction  255, 
dhyana  255,  described  255,  Sakti  255, 
images  255 

Acala  Bhumi,  336,  colour  336,  symbol  336, 
dhyana  336,  described  336,  images  336 

Acalaketu  Lokesvara,  described  429 

Arala  Vajrapani,  155 

Acata  (?)  Lokesvara,  described  397 

Adamantine  sow,  217 

Adherence  to  the  Path,  20 

Adhikarin,  equipments  of,  24 

Adhimukticarya  Bhurri  333,  colour  333, 
symbol  333,  dhyana  333,  described 
333,  images  333 

Adhimuktivasita,  331,  colour  331,  symbol 
331,  dhyana  331,  described  3  31,  images 
331 

Adibuddha,  42,  43,  manifestation  of,  101, 
cult  of,  44 

Adibuddha,  Dhyani  Buddhas  as,  387,  di- 
fferent cults  with  different,  387 

Adibuddha,  temple  over  the  flame  of, 
lOOf, 

Adibuddha  theory,  time  and  place  of  in- 
troduction 38  7n 

Aditya,  367,  colour  367,  symbol  367, 
vahana  367,  dhyana  367,  described  367, 
images  367 

Adibuddhayana,  187 

Adiyana,  187 

Advaya,  30 

Advayavajra,  9,  48 

Advayavajrasahgraha,  25 

Agni,  362,  colour  362,  vahana  362,  direc- 
tion 362,  dhyana  362,  described  362 
images  362 


Ahankara,  27,  30 

Ajanta,  5,  39 

Ajaya,  160,  direction  160,  form  160 

Akanistha  heaven,  34 

Akarsana  rite,  166 

Akasagarbha  Bodhisattva,  85,  colour  85, 
symbol  85,  dhyana  86,  described  86, 
images  86,  forms  86 

Akasagarbha  Lokesvara,  described  399 

Aksayajnanakaranda  Dharini,  341,  colour 
341,  symbol  341,  dhyana  341,  described 
341 

Aksayamati  Bodhisattva,  84,  colour  84, 
symbol  84,  dhyana  84  described  84, 
images  85 

Aksayamati  Lokesvaro,  39> 

Aksobhya  Dhyani  Buddha,  51,  colour  51, 
vahana  51,  nnidra  51,  symbol  51,  dhya- 
na 51,  described  51,  images  51,  in 
stupa  5 1 ,  direction  5 1 ,  family  5 1 ,  forms 
52,  lord  of  the  East  52  ;  eight-armed  form 
52,  dhyana  52,  described  52  ;  origin 
of  45,  as  a  Tathagata,  34,  35,  in  the 
Hindu  pantheon  191,  on  the  crown  of 
Hindu  Tara  191,  gods  emanating  from 
l54f,  goddesses  emanating  from  189f. 

Alakapuri,  Kubera's  capital  379 

Alchemy,  8 

Amravati,  5 

Amitabha,  14,  34,  49,  dhyana  49,  symbol 
49,  vahana  49,  mudra  49  described  49, 
images  50,  origin  of,  45,  sire  of  Avaloki- 
tesvara  124,  gods  emanating  from  145f, 
goddesses  emanating  from  147f- 

Amitabha  Lokeivara,  described  429 

Amitaprabha     (also    Amjrtaprabha),    90f, 
colour  90,  symbol  90,  dhyana  91,  des- 
cribed 91,  images  91 
Amitayus,  35 

Amuayus  Sutra,  14,  15, 100. 
Amoghadarsi  Boddhisattva,  97,  colour  97, 
symbol  97,    dhyana  97,  described  98, 


444 


BUDDHIST  ICONOGRAPHY 


images  96 

Amoghapala  Lokesvara,  described  428 

Amoghasiddhi  Dhyani  Buddha,  22,  55f, 
colour  55,  mudra  55,  vahana  55, 
symbol  55,  dhyana  55-6,  described  56, 
images  56,  direction  56,  place  in  stupa 
56,  origin  of,  45,  emanations  of  226 

Amrtalocana,  249 

Amrtamukhi,  249 

Amrtananda,  2,  3,  142,  205,  206 

Amrtaprabha    Lokesvara,  described  398 

Analarka,  254 

Ananda,  79,  191 

Anandadi  Lokesvara,  described  395 

Ananga,  187,  Hindu  god  of  love  115 

Ananga  VHJra,  12,  35 

Anantamukhi  Dharini,  340,  colour  340, 
symbol  340,  dhyana  340,  described  340. 

Ananta,  snake,  148 

Animal-faced  deities,  319,  general  descrip- 
tion 319,  deification  of  animals  319, 
special  features  319 

Animosity  against  Hindu  gods,  389 

Anjali  mudra,  129,  207,  of  Sudhanakuma- 
ra  129 

Anupama  Raksita,  20 

Anusmrti,  26 

Aparajita,  183 

Aparajita,  151,  222,  colour  151,  described 
151,  direction  151,  see  also  Sitatapatra 
Aparajita 

Aparajita,  245 f,  colour  245,  mudra  245, 
dhyana  246,  described  246,  images  39, 
246,  Nalanda  fragment  246,  Indian 
Museum  image  246 

Appearances,  28 

Arapacana,  IZOf.  name  explained  120, 
colour  120,  companions  120,  symbols 
120,  described  120,  images  120,  origin 
of  121,  images  39,  121,  121n 

Arcismati  Bhurai,  334,  colour  334,  symbol 
334,  dhyana  334,  described  334,  images 
335 

Artha  Pratisariivit,  343,  colour  343,  symbol 

343,  dhyana    343,   described  343,  images 

343 

Arolik,  45 

Aruna,  207 

Arya-JangulI,  228,  as  companion,  228, 
dhyana  228,  described  228,  images  229 


Arya'Manjulrlmulakalpa,  100 

Arya-Manci,  2 10,  symbols  210,  described 
210 

Aryatara,  229,  name  of  Vas\atara  229, 
sadhana  229,  described  22,  green  307, 
special  features  307 

Arya-Sarasvatl,  351,  symbol  351,  described 
351,  images  351 

Arya-Vajravarahi,  219,  four-armed  219, 
described  219,  symbol  219 

Asanas,  significance  of  389,  390,  senti- 
ments in  390 

Asanga,  8,  12,  13,  41,  197,  deified  35,  ini- 
tiated by  Maitreya  81) 

Ascetic,  25 

Asiatic  Society's  Library,  4 

Asokakanta  Marici,  227,  as  a  minor  deity 

227,  as  companion  228,  described  209, 

228,  dhyana  209,  228,  images  209,  229, 
vahana  209,  colour  209 

Asoka  bough,  209 

Assam,  6 

Astabhuja  Kurukulla  245>  249,  companions 
of  249,  colour  150,  mudra  150,  sadhana 
150,  dhyana  150,  described  151,  images 
151 

Astabhuja  Marici,  211,  colour  211,  resi- 
dence 211,  described  211,  attendants 
211,  images  212 

A§tamahabhaya  Tara,  308,  white  308, 
special  features  308 

Astabhujaplta  Marici,  210 

Astabhuja  Vajratara,  240,  name  of  Vajra- 
tara  in  Peiping  240,  see  Vajratara 

Astrology,  8 

Astronomy,  8 

AsVaghosa,  deified  35 

Atila  Dlpankara,  16 

Avalokita  Bodhisattva  143 

Avalokita  LokesVara,  described  399 

AvalokitesVarall,  14,30,34,  35,  38,  49, 
origin  of  143,  ruler  of  BhadrakaJpa 
124,  his  sire  Amitabha  125,  character 
124,  special  qualities  124«  sadhanas 
124,  forms  in  the  SadhanamalS  124, 
(108)  forms  in  Nepal  6n.  88,  124,  144, 
discovery  of  108  forms  125,  images 
125. 

AvalokitesVara  Bodhisattva,  88f,  colour 
88,  symbol  88,  dhyana  88,  described 


INDEX  OF  WORDS 


445 


83,  images  89 

Ayurvasita,  329,  colour  329,  symbol  329, 
dhyana  329,  described  329,  images  329 
B 

Balabhadra,  378,  pastoral  deity  378,  colour 
378,  symbol  378,  vahana  378,  dhyana 
378,  described  378 

Balabhadra  Group,  378,  deities  of  the,  378, 
their  nature  378 

Balaparamita,  327,  colour  327,  symbol 
327,  dhyana  327,  described  327,  images 
327 

Banerji,  R.  D.  39 

Bendall,  35n 

Bengal  5,  6,  school  of  art  38,  39 

Bewitching,  rite  of,  115 

Bhadrakalpa,  ruler  of  49,  124 

Bhadrapala  Bodhisattva,  96,  colour  96, 
symbol  96,  dhyana  96,  forms  96,  des* 
cnbed  97,  images  97 

Bhadrasana  229 

Bhairava,  161,  162,  as  vahana  218 

Bharhut,  5,  31 

Bhatgaon,  monasteries  n,  41 

Bhattasali  (Dr.  Nalini  Kanta),  1,  16,  39, 
130,  156,  223,  233 

Bhima,  160,  direction  160,  form  160 

Bhlmadars'ana  160,  direction  160,  form  160 

Bhismabhagini,  236 

Bhota 193 

Bhrkuti,  128,  129,  135,147,  152,  colour  129 
*135,  152,  symbol  129,  135,  152,  des- 
cribed 129,  135,  152  sadhana  152,  Dhya- 
na 152,  forms  152,  images  153,  yellow 
309,  special  features  309 

Bhrhgi,  365,  colour  365,  dhyana  365,  des- 
cribed 365 

Bhumis,  ten,  28 

Bhumi  deities,  twelve  333,  meaning  333, 
definition  333,  description  333,  images 
333 

Bhurim,  135,  colour  135,  symbol  135,  des- 
cribed 135 

Bhutadlmara    182,  mudra,   182,    sadhana 

182,  dhyana  182,  described   182-3,  sire 

183,  images  183,  cult  of  183 
Bhutadamara  VajrapSni,  183 
Bhuvanesvarl  117n 

Bihar  6 


Bimba  (icon'drcle),  26 

Birbhum  38 

Blue  colour,  significance  of,  154 

Bodhi21 

Bodhicaryyavatara  5 

Bodhicitta,  25,  27,  nature  of>  393 

Bodhi  knowledge  1 1 

Bodhi  mind,  28,  29,  30,  charged  with 
Karuna  31 

Bodhisattva,  11,  20,  27,  28,  meaning  of  82, 
class  of  deities  82,  female  counterparts 
82,  independent  group  82,  in  Nispanna- 
yogaval!  82,  three  sets  of  16  deities  82, 
lists  of,  82,  with  Dhyani  Buddha  forms 
99,  companions  of  JLokanatha  130, 
group  of  eight  98 

Bodhisattva,  Padmapani,  49 

Bodhi sattvay  ana  8 

Bodhnath,  stupa  of  32  (also  Bauddh) 

Borobudur  temple  39 

Brahma  27,  250,  as  Mara  159,  195,  colour 
363,  vahana  363,  dhyana  363,  described 
3o3,  images  363,  parasol  bearer  246, 
severed  head  of  162 

Bianniavawana  Parana  18 

Brahmadanda  Lokesvara,  described  397 

Brahmananda  190 

Brahmas,  Four,  21 

Brhaspati,  368,  colour,  368,  symbol  368, 
vahana  368,  dhyana  368,  described  368 

Bronzes  5 

Bronze  of  Vajratara  240,  in  the  form 
of  a  lotus  240 

Buddha  20,  as  god  32,  first  image  of  5, 
images  of  31,  32 

Buddha's  life,  scenes  from  5 

Buddha  Sakyasimha  48 

Buddhas  20 

Buddhahood  8,  29 

Buddhadakini  163,  218,  Sakti  of  Maha- 
maya  164,  described  164 

Buddhakapaia,  159,  colour  159,  Sakti  159, 
sadhana  159,  dhyana  159,  described 
160,  mandala  of,  160,  images  160 

BuddhabodhiprabhaVas'ita  332,  colour  332, 
symbol  332,  dhyana  332,  described  332 

Buddhism,  destruction  of  39 

Buddhist  esoterism  10 

Buddhist  god  of  love  115 


446 


BUDDHIST  ICONOGRAPHY 


Buddhist    Iconography    384,   scope    384, 

purpose  384,  value  384 
Buddhist  monasteries  4 
Buddhist  pantheon  384,  in  Guhyasamaja 

384,    first  deifications  384,   Kulas  and 

Saktis  384 
Buddhist  Tantra  9 
Buddhist  universe  48 
Budha  (planet),  368,    colour  368,   symbol 

368,  dhyana  368,  described  368,  images 

368 

Buffalo  head  166 
Buffalo  vahana  166,  167,  168 

C 

Caitya  K),  211,   215,   residence  of   MaricI 

211,    residence    of    Usmsavijaya   215, 

special  symbol  of  Maitreya  80 
Cakra  (discus)  as  family  symbol  54 
Cakiasambara  Tantra  217 
Calcutta,  Indian  Museum  at,  6,  38,] 
Camunda   365,   colour   365,    vahana  365, 

dhyana  365,  described  365,  images  365 
Candall     312,     colour    312,   symbol  312, 

dhyana  312,  described  312,  images  312 
Candarosana    154,    155,   255,   colour   154, 

names  154,   sadhana   154,   dhyana   154, 

155,  symbols   154,   Sakti    155,   worship 

155  images  155 

Candamaharosana  see  Candarosana 
Candamahawsana  Tantra  4,  155 
Candavajrapani  236 
Candesvan,      companion    of     Mahakala, 

347,  colour  347,  symbol  347,  direction 

347,  described  347 
Candra  (planet),  367,  colour  367,  symbol 

367,  vahana  367,  dhyana  367,  described 

367,  images  367 
Candraprabha  Bodhisattva,    89,  120,   121, 

colour  89,   symbol  89,  dhyana  89,   90 

described  89,  90,  images  90 
Candraprabha  Lokesvara,  described,  398 
Capetadana  mudra  245 
Carcika,    companion    of  Mahakala,   347, 

colour  347,  symbol  347,  direction  347, 

described  347 
Caturbhuja  Sitatara   (white),    308,   special 

features  308 
Catur-Maharfijikas,  35 


Caurl,  310,  colour  310,  symbol  310, 
dhyana  310,  described  310,  images  310 

Cave  Temples  of  Western  India,  39 

Chariot  of  MaricI,  211 

Chhinnamasta  1,  17,  247,  Hindu  goddess 
247,  same  as  Vajrayogini  247 

Chhatrosnisa,  302,  colour  302,  symbol 
302,  direction  302,  dhyana  302,  des- 
cribed 302,  images  302 

Chinese,  1 

Chiromancy,  8 

Chittagong  39 

Cintamani  Datta,  author,  123 

Cintamani  family,  32,  45 

Cintamani  Lokesvara,  described  430 

Citrakaras  (of  Nepal),  7 

Citrasena  159,  described  160,  image  160 

Cittadhatu  Lokesvara,  described,  430 

Cittava^ita,  329,  colour  329,  symbol  329, 
dhyana  329,  described  329,  images  329 

Cittavisuddhiprakarana  47 

Clark,  (Professor  Walter  Eugene),  3 

Collective  Deities,  251,  their  nature  251 

Colour,  significance  of  389,  connection  with 
elements  390,  malefic  and  benefit  390 

Comilla  38 

Companions,  three  of  Marici,  213,  un- 
named 213,  described  213,  colour  213, 
form  213 

Compassion  (Karuna),  21 

Confession  of  sins,  20 

Constellations,  twenty-eight,  381,  deified 
381,  named  381f,  described  381f 

Coomaraswamy  {Dr.  A.  K.)  1,  31 

Csoma  de  Koros  (Alexander),  43 

Cults,  Buddhist,  387 

Cunda  35,  220,  spelling  of  the  name  220, 
deified  Dharini  220,  mantra  of  220, 
colour  151,  219,  symbol  219,  223,  sire 
219f,  forms  219,  as  a  minor  deity  221 , 
222,  place  in  the  mandala,  222,  as 
consort  of  Takkiraja  222,  dhyana  221, 
222,  forms  222  ;  twenty-six  armed  222, 
described  151,  221,  223,  symbols  223, 
mudra  223,  miniature  223,  temple  in 
Pattikera  223,  antiquity,  221,  sadhana 
221,  images  221,  223,  224,  Baroda 
image  224,  symbols  224;  Bodh-Gaya 
image  224 


INDEX  OF  WORDS 


44,7 


Cunda  Dharinl  220,  221,  340,  colour  340, 
symbol  340,  dhyana  340,  described  340, 
images  340 

Cunda  mairra  221 

Cunda  murira  223n 

D 

Dacca,  o,  museum  33,  156 

Dakini,  218,  described  218,  321,  form  321, 
dhyana  321,  images  321,  322,  Vajra- 
yoginl  217 

Dakini  group,  four,  321,  general  descrip* 
tion  321,  list  of  deities,  321,  appear- 
ance 321,  form  321,  images  321 

Damara  mudra  183 

Danaparamita  324,  colour  324,  symbol  324, 
dhyana  324,  described  325,  images  325 

Dance  deities,  four,  312,  their  nature  312, 
their  description,  312,  their  images  312 

Dalabhuja&ita  Marlcl,  213,  colour  213, 
sadhana  213,  described  213,  three 
attendants  213 

DasabHUmika-SMtra,  28 

Dates  or  Tithis,  382,  deiiied  382,  images 
382 

Death,  god  of,  166 

Deification,  process  of  385,  specialised 
study  3*85,  epidemic  of  31,  of  books 
220 

Deities,  number  of  34,  forms  of  47,  in* 
crease  in  number  392,  objects  as  392, 
literature  as  392,  philosophical  concepts 
as  392,  abstract  ideas  as  392,  desires  at* 
392,  interchange  of,  1 

Deity,  evolution  of  25,  nature  of  24, 
visualisation  of  24,  the  mantra  person 
29,  realisation  of  27,  single  30,  conden- 
sation of  words,  30,  manifestation  of 
Sunya  391,  no  real  existence  391,  only 
an  idea  391,  Sunya  in  essence  391, 
Sunya  manifests  as  391 

Dependent  origination  25 

Devadevata  Lokesvara,  described  428 

Devaputra  Mara  159 

Dhanada  179 

Dhanada  Tara,  231,  colour  231,  vahana 
231,  companions  231,  mantra  231, 
dhyana  231,  described  231,  images  23 1 
green  307,  special  features  307 

Dharana  26 


Dharani  (also  Dharinl)  10,  general  des- 
cription 338n,  in  sadhanas,  337n,  of 
Avalokitesvara  29,  Vajragandharl  236, 

Dharinis,  twelve,  337,  their  number  337, 
deification  337,  nature  337,  description 
337,  character  220,  power  220,  enu- 
merated 220,  names  of  220,  sire  of 
220 

Dharma  10,  20,  goddefas  32,  Hindu  6 

Dharmacakra  Lokesvara,  described  429 

Dharmacakra  Manjusri  118n 

Dharmadhatu  Lokesvara,  described  430 

Dharmadhatu  Vaglsvara  103,  colour  103, 
described  103f,  dhyana  103,  forms  103f, 
images  104,  mandala  104,  called  Manju- 
ghosa  104,  principal  deity  of  the  man- 
dala 104 

Dharmakara  101 

Dharmakaya  210 

Dharmaklrti,  12 

Dharmakosasahgiaha  2,  205,  206,  Sukhavuti 
Lokesvara  described  1 42 

Dharmamegha  Bhumi  336,  colour  336, 
symbol  336,  dhyana  336,  described  337, 
images  337 

Dharma  Pratisamvit  342,  colour  342, 
dhyana  342,  symbol  342,  described  342, 
images  342 

Dharma  Vasita  332,  colour  332,  symbol 
332,  dhyana  332,  described  332,  images 
332 

Dhupa  256,  and  others  in  Lokanatha  Man- 
dala 131 

Dhupatara  241,  dhyana  241,  described 
241 

Dhvajagrakeyura  201,  forms  201,  images 
201,  form  (i)  described  202,  three-faced 
201,  colour  201,  dhyana  201  ;  /oim 
(n)  described  202,  four-faced  202  ; 
images  202 

Dhvajosnisa  301,  colour  301,  symbol  301, 
direction  301,  dhyana  301,  described 
301,  images  301 

Dhyana  21,  26,  essential  features  386,  devi- 
ations from  386,  modified  under  local 
conditions  386 

Dhyanaparamita  326,  colour  326,  symbol 
326,  dhyana  326,  described  326,  images 
326 


448 


BUDDHIST  ICONOGRAPHY 


Dhyani  Bodhisattvas,  illustrations  of,  5  In 

Dhyani  Buddhas  44,  48,  origin  45,  product 
of  Tantric  sadhana  35 

Dikpalas,  eight  352,  their  nature  352,  their 
number  352,  Hindu  lords  of  quarters 
251 

Dikshit,  Mr.  K.  N  126 

Dimbha,  another  name  of  Ucchusma  179, 
239 

Dinajpur  38 

Dipa  256.  318,  colour  318,  symbol  318, 
dhyana  318,  described  318,  images  318 

Dipatara  241,  dhyana  241,  described  241 

Direction,  Ten  gods  of  25 1 ,  their  nature 
251,  general  features  251,  in  Tantric 
liteiature  251,  their  forms  252f;  six 
goddesses  of  256,  their  nature  256, 
special  features  256,  their  forms  297f ; 
Hindu  gods  of,  25 1 

Disciples,  qualifications  of  94 

Diseases  in  human  form  233 

Divination  8 

Divine  Bodhisattvas  47 

Dogmas  8 

Dogmatic  Form  of  AvalokitesVara  (?)  207 

Dombi  312,  colour  312,  symbol  312, 
dhyana  312,  described  312  images  312 

Door  goddesses,  four  316,  deification  316, 
characteristics  316,  description  316f 

Dragons  54 

Durangama  Bhumi,  335,  colour  335,  sym- 
bol 335,  dhyana  335,  described  336, 
images  336 

Durbar  Library,  Nepal  3,  4 

Durgatiparisodhana  78,  later  name  of 
Buddha  76,  colour  78,  mudra  78, 
dhyana  78,  described  78,  images  78 

Durgottarim  Tara,  307,  green  307,  special 
features  307 

Durjaya  160,  direction  160,  form  160 

Dvaradharu  317 

Dvaratalakadhara  316 

Dvesa  family  32,  45 

Dvesarati,  queen  of  Aksobhya  46 

E 

Earliest  sadhana  35 
Ekagrata  (concentration),  26 
Ekajata  151,  direction   15 1,  colour    151, 
described  151,  mantra  of  29,  power  of 


193,  sadhanas   193,  dhyana   193,  des- 
cribed 193,   blue  309,  special  features 
309,  images   194,    229,  forms  of    194, 
two-armed    described     194,    /our-armed 
described     194,  eight-armed    described 

194,  as  a  minor  deity  227,  as  compani- 
on 228,  dhyana  228,  described  228 

Ellora  5,  39,  cave  temples  at,  77 

Epidemics  196 

Evans- Wentz  (Dr.  W.  Y.),    50,   205,   215, 

225 

Excavations  5 

Excrescence,  of  Vajravarahi  217 
Extraordinary  worship  21 

F 

Fa-Hien  35,  mentions  Manjus'ri  100 
Fever,  Hindu  god  of,  233 
Fire-flies,  sign  of  26 
First  image  of  Buddha  5 
Five  cosmic  elements  32 
Five  Dhvani  Buddhas  11,    15,  32,  38,   42, 

names  47,    colour    47,    symbols    47, 

mudras  47 

Five  families  of  deities,  47 
Five  Kulas-  32 
Five  Mudras  48 

Five  primordial  cosmic  forces  48 
Five  senses  47 

Five  Skandhas  (elements),  32,  48 
Flame  of  fire  (Adibuddha),  43 
Foucher  (Professor  A.)  1,  2,  5,  31 
Four  Maras  195 
Four  Pithas  (sacred  spots),  15 
Four  Pratisamvits  (logical  analysis),  342 
Freer  Gallery  of  art,  221n 
Friendship  (maitri),  21 
Future  Buddha  93 

G 

Qaekwad's  Oriental  Series,  2,  3,  19 
Gaganaganja  Bodhisattva,  35,  86,  symbol 
86,  dhyana  86,  described  86,  87  images 
87  ;  in  Sadhanamala  87,  in  the  Lokana 
tha  sadhna  131,  colour  131,  described 
131 

Gaganaganja  Lokesvara,  described  399 
Ganapati,  348,  365,  symbol  348  365,  vaha- 
na  348,  365,  dhyana  348,  365,  described 
348  365,  forms  366,  trampled  by  Apara- 
jita  246 


INDEX  OF  WORDS 


449 


GanapatihrdayS  349,  symbol  349,  dhyana 
349,  described  349,  images  349 

Ganapati  Sastri,  14 

Gandhahasti  Bodhisattva  95,  colour  95, 
symbol  95,  dhyana  95,  described  95, 
images  96 

Gandhara  School  of  Art,  5,  32,  35 

Ganes*a  197,  as  Vighna  197,  figure  of  180, 
trampled  197,  presence  of  388-9,  humi- 
liating role  389,  often  trampled  under 
feet,  389  ;  see  Ganapati 
Gandha  256 

Gandhatara  241,   dhyana    241,   described 
241 

Gmdharva  king  381,  his  name  381,  des- 
cribed 381 

Gandharvas,  lords  of,  379 

Garuda  vahana  136 

Garudasya319 

Gatha  style  14 

GaurL   Hindu  goddess  184 

Gaurl  310,  colour  310,  symbol  310,  dhyana 
310,  described  310,  images  310 

Gaurl  group,  eight  309,  listed  309,  describ- 
ed 309f 

Gaurltara  151,  222,  colour  151,  described 
151 

Gautama  77 

Gaya  38,  35 

Germ-syllable  (Bija)  25 

Getty,   Miss  Alice   1,166,207,209 

Ghantapani  Bodhisattva  76,  colour  76, 
Symbol  76,  image  76,  described  76 

Ghasmari  311,  colour  311,  symbol  311, 
dhyana  311,  described  311,  images  311 

Ghoracandi,  163,  colour  163,  described 
163 

Glta  313,  colour  313,  symbol  313,  dhyana 
313,  described  313,  images  313 

Godhead  23 

God-realisation  17,  25 

Gods,  male  and  female,  390,  Heruka  and 
Nairatma  390 

Graeco  Buddhists  of  Gandhara  31 

Grahamatrka  224,  mudra  224,  dhyana 
224,  symbols  225,  described  225,  images 
225 


Grdhrasya  319 

Grunwedel,  Professor  Albert,  1 

Gryphons  54 

Gurdians  of  gates,  four  154 

Quhyasamaja,  10,  (also  &risamaja),  12,  13n, 
15,  15n,  24,  25,  25n,  26,  32,  34,  41,  45, 
53,  73,  100,  251,  Cunda  in  221,  teach- 
ings of  385,  dormant  for  300  years, 
385 

Qukyctsiddhi,  12 

Qunakarandavyuha,  124 
H 

Halahala  (Lokesvara),  132,  colour  132, 
companion  132,  sadhana  132,  images 
132-133,  dhyana  132,  described  133, 
Sakti  described  133,  Lokesvara  describ- 
ed 394 

Handwritten  MSS,  5 

Hara  212 

Hari  212,  meaning  of  the  word,  136 

Harihara  Lokesvara,  described  429 

Harihariharivahana  136,  colour  136,  speci- 
al vahana  136,  images  in  Nepal  136, 
dhyana  136,  described  136,  images  137, 
Lokelvara,  described  394 

Hariti35 

Harivahana  Lokesvara,  described  429 

Hathayoga  8,  24,  26 

Hayagriva  128,  129,  185,  colour  129,  des- 
cribed  129,  symbol  129  ;  another  form: 
colour  165,  forms  165,  sadhana  165, 
dhyana  165,  described  165,  image  165  ; 
as  companion  of  Lokanatha  131,  des- 
cribed 131,  symbol  131,  mudra  131 

Hayagriva  (Hindu)  233,  god  of  fever  233, 
image  233 

Hayagriva  Lokesvara,  described  394 

Hayasya  319,  colour  319,  symbol  319, 
dhyana  319,  described  319 

Heruka  6,  39,  154,  155,  159,  208,  248, 
colour  155,  symbol  155,  sadhana  155, 
forms  155,  worship  156,  dhyana  156, 
described  156,  images  156,  male  form 
of  Sunya  390 

HerukI  163,  colour  163,  described  163 
.  Heruka  Tantra  4,  155,  217,  248 

Herukavajra  254 


57 


450 


BUDDHIST  ICONOGRAPHY 


Hevajra  154,  163,  forms  of  157,  two-arm- 
ed (i)  157,  colour  157,  PrajriS  157,  dhya- 
na  157,  described  157,  sadhana  157; 
four-armed  (n)  157,  colour  157,  dhyana 
157,  Prajfia  157,  described  157,  15*, 
sadhana  158,  ;  six-armed  (tii)  158, 
colour  158,  Prajna  158,  dhyana  158, 
described  158  ;  sixteen-armed  (iv)  158, 
colour  158,  Prajna  158,  dhyana  158, 
described  159,  vahana  159,  symbols 
159,  images  159 

Hevajra  TantM,  4 

Hinayana  8 

Hlnayanists  1 1 

Hindus  and  Buddhists  187 

Hinduizing,  method  of  190 

Hindu  pantheon  19 

Hindus  1 

Hindu  gods  158,  344,  their  parental  Dhya- 
ni  Buddha  344,  position  in  the  Mandala 
344,  their  Kulas  344,  humiliated  389, 
trampled  under  feet  389,  animosity 
against  389,  superiority  over  389 

Hindu  gods  in  Vajrayana  344f ,  names  344, 
number  344,  nature  344,  status  344, 
important  deities  344 

Hiranyagarbha  212 

History  of  Nepal  of  Wright,  51 

Hiuen  Thsang  12,  80,  mentions  Manju^ri 
100 

Hodgson,  B.  2 

Holy  books  5 

Horoscopy  8 

Horse-neck  165 

I 

Icon  25,  385,  details  388,  composition  388, 
presence  of  Dhyani  Buddhas  388,  essen- 
tial features  388,  non-essential  features 
388 

Identification  30,  of  images  386,  Dhyani 
Buddhas  important  386,  difficulties  in 
way  of,  386,  necessary  figures  387, 
unnecessary  figures  387,  discrepancies 
in  387,  solution  of  problems  387 

Illustrations  (of  Peiping  statuettes)  4 

Indian  Museum,  Calcutta,  2 

Indifference  (Upeksa),  21 

Indonesia  39 


Indra  1,  35,  186,  Mara  195,  colour  352. 
vahana  352,  direction  352,  dhyana  352, 
described  352,  images  352,  as  vahana 
250 

Indrabhuti  12,  16,  35,  Siddhacarya  150 

IndranI  186 

Infinite  Spirit  25 

Interchange  of  deities  1 

Involution,  process  of  31 

Irsyarati,  queen  of  Ratnasambhava  46 

Is'ana  361,  colour  361,  vahana  361,  direc- 
tion 361,  dhyana  361,  described  362 

I-Tsing  12,  35,  mentions  Manjulri  100 

J 

Jagaddala  6,  41 

Jainas  1 

Jaiiniprabha  Bodhisattvn  90,  colour  90, 
symbol  90,  dhyana  90  described  90, 
images  90 

Jalinikumara  121 

Jaliniprabha  Lokesvara,  described  398 

Jambhala  17,  35,  202,  244,  a  Yaksa  178, 
symbol  237,  recognition  237,  forms 
23 7f  ;  single  238,  images  238,  described 
238,  variety  178,  antiquity  178,  sire  178, 
image  39,  178,  sadhana  178,  dhyana 
178,  described  178,  Yab-yum  238, 
colour  238,  symbol  238,  Prajna  238, 
described  238,  companion  238  ;  Man- 
dala 238,  described  239,  images  239 

Jangull  1,  Dharini  deity  220  ;  form  (i)  191, 
colour  191,  symbol  191,  sadhana  191, 
dhyana  191,  origin  191,  forms  of  191, 
power  191,  described  192,  images  191  ; 
form  (u)  192,  colour  192,  mudra  192, 
symbol  192,  described  192  ;  form  (in) 
192,  vahana  192,  colour  192,  sadhana 
192,  dhyana  192,  described  192  ;  white 
308,  special  features  308  ;  green  307, 
special  features  307  ;  yellow  309,  special 
features  309  ;  in  Hindu  Tantras  193 

Jangull  Dharini  339,  colour  339,  symbol 
339,  dhyana  339,  described  339f,  images 
340 

Japanese  1 

Jar  of  consecration  91 

Jataka  stories*  scenes  from  5 

JatSmuku$a  LokesVara,  described  395 


INDEX  OF  WORDS 


Java  5,  image  of  irajnaparamita  found    in 

198 

Javanese  Art  39 

Jaya  160,  direction  160,  form  160 
Jayakara  186,  378,  colour  378,  dhyana  378, 

described  379 

Jayatara  151,  colour  151,  described  151 
Jewel  family  of  Ratnasambhava  48 
Jinajik  45 
Jivatman  27 
Jnanadakini,  Sakti  of  Yogambara  186,  204, 

colour  204,  dhyana  204,   described  204, 

images   204,  Mandala  204 
Jnanadhatu  Lokesvara,  described  398 
Jnanaketu      Bodhisattva      963  colour    96, 

symbol   96,   dhyana     96,  described  96, 

images  % 
Jnanaparamita   328,     colour   328,    symbol 

328,  dhyana  328,  described  328,   images 

328 

Jnanapradipa,  Samadhi  45 
Jnanasiddhi  12,  16, 
Jnanavalita  331    colour  331,    symbol  331, 

dhyana  331,  described   331,  images   331 
Joyousness  (Mudita),  21 

K 

Kailasa,  mount  379 

Kakasya319 

Kalacakra,    186,     colour     186,   form   187, 

dhyana    187,    described     187f,     images 

188,  blue   colour    188,     an  attempt  at 

unification  389 
Kalacakra  Tantia  42,  187 
Kaladuti  347,  companion  of  Mahakala  347, 

colour  347,  symbol  347,  direction    347, 

described  347 
Kalaratn  161,  162,  218 
Kalihrada  101 
Kalika,   companion    of     Mahakala,     347, 

colour  347,  symbols  347,  direction  347, 

described  347 
Kamadeva,  as  vahana  149 
Kamakhya  16,  17 

Kamalacandra  Lokesvara,  described  429 
Kamalaslla  15 

Kamamialu  152,  symbol  of  ShrkutI  129 
Kamandalu  Lokesvara,  described  395 
KaminI  160,  direction  160,  form  160 
Kanakatnuni,  Mortal  Buddha  76 


Kanaka-Prajnaparamita  199,  colour  199, 
mudra  199,  symbol  199,  described  199, 
differentiated  199,  images  199 

Kapalini  160,  direction  160,  form  160 

Kapata  317,  colour  31  7,  symbol  317,  dhy5- 
na  317,  described  3 17,  images  317 

Karana  pose  165 

KaTandai'^u/ia  5,  11,  124,  143,  sadhana 
from  126 

Karandavyuha  Lokesvara,  described  398 

KarinI  160,  direction  160,  form  160 

Karma  family  56 

Karmakul!  (Amoghasiddhi),  49 

Karmavasita  330,  colour  330,  symbol  330, 
dhyana  330,  described  330,  images  330 

Karnatara  151,  222  colour  151,  described 
151 

Karttikeya,  364,  colour  364,  vahana  364, 
symbol  364,  dhyana  364,  described  364, 
images  364 

Karuna  (compassion),  9,  28,  30,  43 

Kasia  38 

Kasyapa,  Mortal  Buddha  76,  80 

Kathe  Simbhu,  stupa   of,  32 

Kathmandu,  monasteries  in,  7,  41 

Kaulas  46 

Kauberi  160,  direction  160,  form  160 

Kern  (H.)  12,  31n 

Kes'im  120,  121 

Ketu  378,  colour  378,  symbol  378,  dhyana 
378,  described  378,  images  378 

Khadiravani  Tara  226,  colour  226,  symbol 
226,  companions  226,  described  227, 
images  227,  also  called  Syamatara  227, 
preen  307,  special  features  307,  images 
39 

Khagarbha  (same  as  Akalagarbha)  86, 
dhyana  86,  in  the  Lokanatha  Mandala 
131,  colour  131,  symbol  131,  described 
131 

Kharuiaroha  218,  described  218,  another 
form  321,  dhyana  321,  described  321 

Kb asarpana  128,  sadhana  128,  colour  128, 
symbol  128,  companions  128,  differenti- 
ated 128,  dhyana  128f,  images  39,  130, 
described  129 

Khasarpana  Lokes*vara,  described  396 

Khiching  6 

Kinnara  king  360,  dhySna  380,  described 
380,  symbol  380 


452 


BUDDHIST  ICONOGRAPHY 


Kinnaras,  lords  of,  379 
Kles'a  Mara  (Visnu)  159 
Knowledge,  essence  of  23 
Kotbar  (sword-cut)  101 
Krakucchanda,  Mortal  Buddha  76 
Krodha  deities  252 
Krsnacaryya,  Tantric  author  152 
KrsnSnanda  Agamavagis'a  1 90 
Krsnayamari  167     177,252  varieties  167, 
sadhanas   167,  forms  167  ;  form  «i)  two- 
armed  168,  colour     168,   symbol   168, 
dhyana    168,   described     168  ;    form  (u) 
four-armed  168,  colour  168,  companion 
168,  dhyana   168,   described    168,    177  ; 
form  (in)  six-armed    177,   sadhana    177, 
dhyana     177,   described     177f,    images 
178 

Krtanjali  Lokelvara,  described  430 
Kriyasamuccaya  4 

Ksantiparamita  325,  colour  325,  symbol 
325,  dhyana  325,  described  325,  images 
325 

Ksepana  mudra  207 

Ksitigarbha  35,  Bodhisattva  65,  colour  85, 
symbol  85,  dhyana  85,  described  85, 
images  85,  in  the  Lokanatha  Mandala 
131,  colour  131,  symbols  131,  des- 
cribed 131 

Ksitigarbha  Lokes*vara,  described  399 
Kubera  35,  the  greatest  Yaksa  379,  colour 
361,  vahana  361,  direction  361,  dhyana 
361,  described  361,  images  361,   vahana 
of  Ucchusma  239 
Kukkurlpada,  Mahasiddha  163 
Kukku{apada,  mount  80 
Kulacara  47 

Kulas  (families)  11,  42,  46,  five  44 
KuleJa  32,  42 
Kulika  (snake)  148 

KulilesVarl,  companion  of  Mahakala  347, 
colour  347,  symbol  347,  direction  347 
described  347 
Kunci  316,  colour  316,  symbol  316,  dhyana 

316,  described  316,  images  316 
Kuncikadhara  316 
Kurkihar  5,  35,  38 

Kurukulla  16,  147,  236,  varieties  147, 
function  147,  images  147,  mantra  147  ; 
red  309,  special  features  309 ;  white 


308,  special  features  308 
Kurukulla  mountain  149 
Kva  Vahal  (Pattan,  Nepal)  137,  138,  images 

of  Rakta-Lokesvara  in  137 


Laksml  1 

Laksminkara,  daughter  of  Indrabhuti,  150 

Lalitapattan  (also  Pat  an),    monasteries  in, 

41 

Lama  218,  321,  form  321,  dhyana  321,  des- 
cribed 218,  321,  images  321,  322 
Lamaist  pantheon  3 
Lasya  313,  colour  313,  symbol  313,  dhyana 

313,  described  313,  images  313 
Light  (sign)  26 

Light  goddesses,  four,  317,  definition  of 
light  317,  general  character  317,  appear- 
ance 31 7 

Locana,  Buddhasakti  54,  colour  54»  symbol 
54,  family  54,  Sakti  of  Vairocana   54, 
dhyana  55,  described  55,  images  55 
Lokanatha  130,  colour   130,  symbol   130, 
mudra  1 30,  sadhana   130,  dhyana    130, 
described  130,  Mandala   130,  compani- 
ons 130,  Asana  in  images   132,   images 
131,  differentiated  128 
Lokanatha      RaktaryyavalokitesVara,   des- 
cribed 396 

LokesVara,  form  with  eleven  heads,   125n, 
Bodhisattva  78,  companion  of    Vajra* 
sana    78,   dhyana    77,    described    78, 
images  78 
Lokottara  31 
Lord  Buddha  8,  191 
Lords  of  families  (Kulcsas)  32 
Lotus  family,  of  Amitabha  48 
Lotus,  symbol  of   Amitabha  48,  Pandara 

Padmapani  48 
Luipa  (Siddhacaryya),  12 

M 

Machhandar    Vahal,  Kathmandu  6,   124, 

144 
Madana  (also  Ananga),  Hindu  god  of  love 

115 
Madhukara  186,  379,  colour  379,  symbol 


INDEX  OF  WORDS 


453 


379,  vahana  379,  dhyana  379,  described 
379 

Madhyamaka  8,  9 

Magadha  5,  school  of  art  35,  38 

Magical  practices  9,  and  Buddha  9,  10 

Maha-Abhayakari  LokesVara,  described 
400 

Maha-Abhayaphalada  Lokesvara,  described 
400 

Mahabala  145,  colour  145,  sadhana  145, 
dhyana  145,  described  145,  images  145  ; 
another  form  255,  colour  255,  direction 
255,  dhyana  255,  described  255,  Sakti 
255,  images  255 

Mahacandarosana  154  ;  see  Candarosana 

Mahacandrabimba  Lokesvara,  described 
40J 

Mahaclna  189 

Mahaclna  Tantra  190 

MahlcinaTara  1,  248,  vahana  189,  sadha- 
na 189,  dhyana  189,  origin  189,  des- 
cribed 190.  compared  with  Hindu  fara 
190,  images  191,  blue  309,  special 
features  309 

Mahadeva  191 

Mahakala  255,  347,  nature  347,  function 
347,  forms  345  ;  form  (i)  two-armed, 
345,  colour  345,  symbols  345,  dhyana 

345,  described  345,  images  345;  form  (u) 
four-armed  346,  colour   346,   described 
346 ;    form  (iii)  six-armed   346,   colour 

346,  symbols  346,  described  346  ;   form 
(iv)  sixteen  armed  346,  colour  346,  sym- 
bols 346,  dhyana  346,   described   346, 
companions     347  ;     Hindu  god   344f, 
colour  366,   symbol  366,  dhyana  366, 
described  366.  images  366 

Mahakalavajra,  image  255u 

Mahamanjubhuta  LokesVara,  described 
428 

Mahamanjudatta  I  okelvara,  described 
400 

MahSmantranusarin!  200,  Raksa  goddess, 
200,  colour  200,  sire  200,  dhyana  200, 
described  200,  images  200,  another  form 
in  Mandala  304,  colour  304,  symbol 
304,  dhyana  304,  described  304,  images 
304 

MahamayS  164,  Described  164,  Mandala  of 
164,  dhyana  164,  colour  163,  Prajna 


163,  sadhana  163,  dhyana  163,  describ- 
ed 163,  images  165  ,  as  companion  of 
Mahakala  347,  colour  347,  weapons 
347,  direction  347,  described  347 
Mahamayur!  234,  RaksS  goddess  234, 
colour  234,  dhyana  234,  described  234, 
images  234  ;  another  form  305,  colour 

305,  symbol  305,  dhyana  305,  described 

306,  forms  306,  images  306,   as    com- 
panion 228,  231,  232,  dhyana  228,  232, 
described  228,  232,  images  229 

Mahapadma  (snake)  148 
Mahapatala  LokesVara,  described  400 
Mahapratisora   243,    Raksa  goddess    243, 

forms     of    243,   colour  303,     symbol 

303,  dhyana  303,  described  303,   images 

303  ;     another  form    244,   dhyana    244, 

described  244,  images  39,  244 
Mahapratyangira    (also   Pratyangira),   200, 

sadhana   200,    dhyana   200,     described 

201,  images  201 

Maharajallla  ManjusrI  116,  117n 
Maharatnakirti  Lokes*vara,  described  399 
Maharatnakula  LokesVara,  described  400 
Mahasadhana  25 
Mahasahasrabhuja     Lokesvara,    described 

399 
Mahasahasrapramardatt!        217,         Raksa 

goddess  217,  sadhana  216,   colour  216, 

dhyana  216,  described  217,  images  217  ; 

another  foim  303,   colour  303,   symbol 

303,  dhyana  303,  described  303,  images 

303 
Mahasahasrasuryya  Lokesvara,    described 

400 

Mahasanghikas  13,  14,  143 
Mahas'ankhanatha     LokesVara,   described 

400 
Mahasarasvat!    349,  colour  349,  symbol 

349,  dhyana  349,  described   350,    com- 

panions  350,  images  350 
Mahasiddha,  Kukkurlpada  163 
Mahasiddhas  12,  19,  35,  41,  137 
MahaTitavat!      147,    Raksa  goddess   153, 

colour  153,  sadhana    153,   dhyana    153, 
•     described    153,    images   153  ,    ano-hcr 

fotm    305,    colour  305,    symbol  305, 

dhyana  305,  described  305,  forms  305, 

images  305 
Mahalrl  TSra  39,  227,  colour  227,  mudri 


454 


BUDDHIST  ICONOGRAPHY 


227,    companions    227,  sSdhana  227, 

dhyana  227,  described  227,  images  229, 

miniatures  229,  images  of   companions 

229,  companions  described  228,  mantra 

of  228,  Rajallla   asana  226,  goddess  of 

wealth  228,  green  307 
Mahastbamaprapta  Bodhisattva  89,  colour 

89,  symbol  89,  dhyana  89,  described  89, 

images  89 
Mahasthamaprapta   LokesVara,    described 

431 

Mahasukha  theory  9,  11 
Mahasuryyabimba    LokesVara,     described 

400 
Mahnttari  Tara    307,    green   307,  special 

features  307 

Mahavajradhatu  Lokesvara.  described  428 
Mahavajradhrk  Lokesvara,  described  428 
Mahavajranatha  Lokesvara,  described  428 
Mahavajrapani  Lokesvara,  described  428 
Mahavajrasattva  Lokesvara,  described  397 
Mahavasttt  Avadana  143 
Mahavidya  goddesses,  ten  189 
Mahavisvasuddha     Lokesvara,     described 

428 

Mahay  an  a  8,  two  kinds  9,  deities  in  31 
Mahnyana  scripture  (Piajnaparamita)  197 
Mahayanasutra   15 
Maha^anaiutTtilunkara  8 
Mahayanists  11 

Mahayas*a  160,  direction  160,  form  160 
Mahesvara  (Mara)    159,    364,   colour   364, 

as  vahana  364,  dhyana  364  described 

364,  images  364 
Mahoba  (Mahotsavapura),  132 
Mahodadhi  160,  direction  160,  form  160 
Maitreya  13,  35,  38,  77,  as  Future    Buddha 

80,  described  80,  colour  80,  symbol  80, 
stupa  on  the  crown  80,  image  in  Udya- 
na  80,   heads  the  list  of   Bodhisattvas 
82  ,     ftoddhisattva  form  93»   colour   93, 
symbol    93,      dhyana    94,     described 
94,  images  94,    companion    of  Vajra- 
sana   78,    dhyana   77,      described     78, 
images  78  ,  as  a  minor  god   80,    dhyana 

81,  described   81,    images  81  ;    in  the 
Lokanatha  Mandela   131,   colour    131, 
symbol  131,  described  131 

Mala   (also  Malya)  313,  colour313,  symbol 
313,  dhyana  313,  described  313,  images 


313 

Malya  see  Mala 

Mamaki  52,  family  52,  consort  of  Akso* 
bhya  52,  dhyana  52,  described  52, 
images  52 

Manasa  1,  193,  (Hindu  goddess) 

Mandalas  2,  3,  9 

Mangala  (planet)  368,  colour  368,  symbol 
368,  vahana  368,  dhyana  368,  described 
368 

Manidhara  125,  described  126 

Manipadma  Lokesvara,  described  396 

Manjughosa  35,  113,  Hindu  6,  form  of 
Manjulri  104,  colour  104,  mudra  104, 
symbol  104,  vahana  104,  images  113, 
dhyana  113,  described  113,  asana  113, 
sire  113  ;  in  the  Lokanatha  sadhana 
131,  colour  131,  symbols  131,  described 
131 

Manjukumara  119,  colour  119,  vahana  119, 
dhyana  120,  described  120,  images  120 

Manjunatha  Lokesvara,  described  430 

Maniupattana  101 

Manjusri  35,  38,  43,  god  of  learning  95, 
117n,  166,  178,  place  in  the  pantheon 
100,  worship  of  100,  time  of  introduc- 
tion 100,  details  of  life  100,  exploits 
lOOf,  images  100,  an  engineer  and  archi- 
tect 101,  spiritual  sire  102,  kula  or 
family  102,  sadhanas  of  102,  various 
forms  102,  simplest  form  102,  com- 
panions 102,  images  95,  102,  with 
Hindu  gods  102 

Manjusri  Bodhisattva  94,  colour  94,  sym- 
bols 94,  dhyana  94,  described  94 

Manjusr!  hill  (Nepal)  100 

Maftjusrimiilakalpa  10,  14,  15,  32,  Cunda  in 
221 

Manjuvajra  (fame  as  Vairocana)  219  ;  three 
distinct  forms  118f;  form  (i)  118,  colour 

118,  dhyana  118  described   118,   images 
119  ;  form  (u)  119,  colour   119,   dhyana 

119,  described    119  ;    form  (m)    119, 
colour  119,  dhyana  112,  described   119, 
images  119 

Manjuvara  117,  colour  117,  mudra  117, 
symbol  117,  vahana  117,  dhyana  117, 
described  117,  companions  117,  images 
39117,118 

Mantras  2,  28,  power  of  29,  repetition  of 


INDEX  OF  WORDS 


455 


29,  letters  deified  388,  examples  of  dei- 
fication 388,  of  Vajratara  243,  appli- 
cation of  243 

Mantranaya  9, 

Manranusarinl  see  Mahamantranusarini 
304 

Mantrapurusa  27,  28, 

Mantras*astra  9, 

Mantrayana  14,  15 

Maras,  four  159,  named  159,  195 

Marlcika  (sign)  26 

MaricI  16,  35,  38,  217,  time  of  invocation 

207,  connection  with  the  sun-god  207, 
chariot  of  pigs  207,  forms  208,  sadhana 

208,  attendants  208,    images  208,   209 
Astabhuja  images  212,  as   a  companion 
23  If,  dhyana  232,    described   232,  com- 
pared with  Vajravarahi  208,   217,    Man- 
dala  209 

Maricipicuva  210,  other  names  210,  sadha- 
na  210,  dhyana  210,  described  210,  com- 
position of  image  210,  described  211 

Marl  Dharinl  339,  colour  399,  symbols 
399,  dhyana  399,  described  339 

Mann!  160,  direction  160,  form  160 

Mar- pa  6 

Mathura  school  of  art  5,  32,  35, 

Mati  350 
Matsyendranatha  6 

Mayadevi,  dream  of  31 

Mayajala  Tarura  139,  152, 

Mayajalakrama    139,   colour    139,    sadhana 

139,  dhyana  139,  symbols  139,  described 

139,  images  139 

Mayajalakrama  Lokesvara,  described  395 
Mayajalakrama  Kurukulla  151,  colour  151, 

sadhana   151,  mudra   152,   images   152, 

described  152 
Mayurbhanj  6 
Mayurl  see  Mahamayuri 
Medha  350 
Medicine  8 

Meritorious  deeds,  result  of  21 
Mila-ras-pa  6 
Miniature  paintings  5 
Mixed  Sanskrit  14 
Mlecchas  187 
Moha  family  32,  45 
Moharati,  queen  of  Vairocana  46 
MojaghSnjabala    (?)  Lokesvara,   described 


394 

Momentary  consciousness  28 

Monastery,  Buddhist  16,  41 

Mongoose  247,  significance  237 

Months,  twelve  282,  deified  389,  their 
names  382,  their  deities  382 

Mortal  Bodhisattvas  79 

Mortal  Buddhas  76,  marks  76,  qualities  76, 
their  Bodhi  tree  76,  described  77,  images 
of  77,  attitudes  77,  with  Maitreya  77 

Mortal  BudJhas'aktis  79,  enumerated  79, 
named  79 

Mrtyu  Mara  (Mahelvara)  159 

Mrtyuvancana  Tara  308,  white  308  special 
features  308 

Mudita  (Joyousness),  21 

Mudras  9,  significance  of  393 

Mukunda  315,  colour  315,  symbol  315, 
dhyana  315,  described  315  images  315 

Mukundadhara  315 

Mulaghosa  Vihara  15 

Muraja  315,  colour  315,  symbol  315,  des- 
cribed 315 

Musee  Guimet  4 

Museums  of  Eastern  India  6 

Musical  instruments,  four  314,  deified  314, 
description  314 

Mysticism  8 


N 


Nagakesara,  flower  94,  symbol  of  Maitreya 
94 

Nagarjuna  12,  35,  rescued  Prajnaparamita 
197,  220,  deified  35,  Sidhhapursa  193 

Nagas35,  197 

Nairatma  204,  meaning  of  the  word  204, 
female  form  of  Sunya  390,  consort 
of  Heruka  217,  vahana  203,  colour  203, 
character  203,  sadhana  203,  dhyana  203, 
described  203,  images  39,  204,  direction 
160,  form  160,  and  Vajravarahl  203, 
and  Vajrayogini  248 

Nairrti,  362 ,  colour  362,  v&hana  362,  direc- 
tion 362,  dhySna  362,  described  362 

Naksattras,  twenty-eight,  381,  their  number, 
381f,  described  381f,  their  colour  381f, 
general  description  38 If 

Nalanda  5,  6,  35,  41,  43,  monastery  42 
museum  at  38,  images  38,  Adibuddha 


456 


BUDDHIST  ICONOGRAPHY 


theory  originated  at  38  7n 
Namasanglti  206,    colour  206,    literature 

206,     Buddha  or  a    Bodhisattva    206, 

images  207,  dhyana  207,  described  207, 

and  Manjusri  206 
Namasanglti    Manjusri   115,     colour   115, 

sadhana    115,   sire   115,  described  115, 

dhyana  Il5f,  described  116,  images   116 

and  Namasanglti  206 
Nanda,  half  brother  of  the  Buddha  3 1 
Nandikes*vara  366,  colour  366,  symbol  366, 

dhyana  366,  vahana  366,  described  366, 

images  366 
Naropa  6 
Nstha  Yogin  6 
Navagrahas  213 
Nepal  5, 6,  7,39 
Nepalese  art  39 

Nepal  Valley,  originally  a  lake  101 
Needle  210 
Niladanda  254,  colour  254,   direction  254, 

dbyana  254,  described   254,   Sakti  254, 

images  254 
Nilakantha,    origin    of    140,  colour    140, 

mudra  140,  symbol  140,  companion  140, 

sadhana    140,     dhyana    140,    described 

140,  images  141,  and  Vajniraga  141 
Nilakantha  LokesVara,  described  396 
Nimittt  s  (signs)  26 
Nine  Dharmas,  of  Nepal  12 
Nirukti      Pratisamvit    343,     colour     343, 

symbol  343,  dhyana  343,  described  343, 

images  343 
Nirvana  8,  1 1 
Nispannatara    15 1,   colour   15 1,   described 

151,222 

NitfwniwyosSt'ali   3,  4,  47,  82,  385,  impor- 
tance 385,  date  385,  Cunda  in  221 
Nityanatha  Lokelvara,  described  431 
Nrtya  314,  colour  314,  symbol  314,  dbyana 

314,  described  314,  images  314 

O 

Objects,  external,  29 

Odantapuri  5,  35,  41,  Vihara  38 

OdiySna  Lokelvara   137,  same   as  Rakta- 

'lokesvara  137 
Odiyana  Pandit  180 
O<Jiy5na  Vajracaryya  181 


Omniscience  28,  29 

Origin  of  Yam  a  and  Yamantaka  166 

Orissa  5,  39 

Ostarakl  KO,  direction  160,  form  160 


Padma  (snake)  148 

Padmadakini  164,  colour  164,  direction 
164,  described  164 

Padmakul!  49 

Padmamunda  238 

PadmanarttesVara  133,  varieties  133f ;  foirn 
(i)  eighteen-armed  133,  sadhana  133, 
images  133,  symbols  J33,  attitude  133, 
dhyana  133,  described  134,  companions 
134t/brm  (11)  two-armed  134,  colour  134, 
mudra  134,  symbol  134,  vahana  134, 
sadhana  134,  dhyana  134,  described 
I34i  Mandala  of  135,  companions  135, 
images  135  ;  form  (m)  eight  armed  135, 
sadhana  135,  dhyana  135,  described 
135 

Padmantaka  180,  253,  colour  253,  direction 
253,  dhyana  253,  described  253,  images 
253,  Sakti  253 

Padmantakrt  (western  gate)  46 

Padmapani  35,  51,  88,  colour  51,  symbol 
51,  family  51,  described  51,  images  5 1 

Padmapani  LokesVara,  described  431 

Padmasambhava  (Guru)  6 

Padmavajra  12 

PadmavasinI  135,  colour  135,  symbol  135, 
described  135 

Padmosmsa  300,  colour  300,  symbol  300, 
direction  300,  dhyana  300,  described 
300,  imrges  300 

Pala  period  19 

Paftcaiaksa  5 

Pancaraksa  group  216,  234,  302 

Paneas*ikha  381,  name  of  the  Gandharva 
king,  381,  dhyana  381,  described  381, 
symbol  381 

Pandara  (Buddhas*akti)  124,  family  50, 
Dhyani  Buddha  50,  symbol  50,  colour 
50,  dhyana  50,  described  50,  ^images  50 

Pfindaravasini  50,  Sakti  134 

Pantheon  32,  41,  Buddhist  385,  numerical 
strength  385,  artistic  representation  385 
popularity  385,  in  Buddhist  countries 


INDEX  OF  WORDS 


457 


385,  in  other  religions  385,    world   pro- 
perty 385 

ParamasVa  185,  255,  sadhana  185,  dhyana 
185,  vahana  185,  meaning  of  185,  des- 
cribed 186,  images  186,  horse-head  186 

Paramatman  27 

Paramitanaya  9 

Paramitas,  ten  243,  twelve  324,  common 
features  324,  general  description  323, 
qualities  deified  323,  their  nature  323, 
their  images  324 

Parental  Dhyani  Buddha  34,  47,  49 

Pariskara  Valita  329,  colour  329,  symbol 
329,  dhyana  329,  described  329,  images 
329 

Parnasabarl  17,  Dharinl  deity  220,  images 
39,  colour  196,  vahana  196,  power  196, 
dhyana  196,  described  196,  image  197  ; 
another  form  232,  colour  232,  vahana 
232,  mantra  232,  called  Pis*aci  232, 
dhyana  233,  described  233,  images 
233-4,  as  Dhanni  339,  colour  339. 
symbol  339,  dhyana  339,  described  339, 
images  339  ;  green  307,  special  features 
307  ;  yellow  309,  special  features  309 

Parvati  1 

Patadharmi  317,  colour  317,  symbol  317, 
dhyana  317,  described  317,  images  317 

Patna  6,  museum  at  38 

Pattan  (also  Patan  and  Lalitapatan)  6 

Pattikera,  remains  of  lalmai  hill  223 

Paustika  rite  166 

Peiping  3 

Pestilences,  in  human  form  233 

Philosophical  deities,  323,  deification  of 
abstract  ideas  323  and  philosophical 
concepts  323,  their  nature  323,  their 
images  323 

Philosophy  8 

Phenomenal  world,  inherent  purity  of  21 

Pigs,  seven  for  Marlci  211 

Pindapatra  Lokesvara,  described  428 

Pis*aci,  epithet  of  Parnalabarl  196 

Pita-Prajnaparamita  198,  colour  198, 
mudra  198,  symbol  198,  described  198, 
images  198 

Planrts,  nine  367,  deified  367,  their  influ- 
ence 367,  their  forms  367 

Poison,  blue  pill  of,  140,  of  Ni)akan{ha 
140 


Potalaka  129 

Potapada  LokesVara,  described  395 

Powers  of  the  mind  18 

Prabhakarakirti,  Tantric  author  154 

Prabhakarl  Bhumi  334,  colour  334,  symbol 

334,  dhyana  334,  described  334,  images 

334 
Pradlpatara   222,     colour    151,     described 

151 
Prajna  (Sakti)  11,  (knowledge)  26,  43,    168, 

350,  trampled  211,  of  Raktayamari  167, 

colour  167,  described  167 
Prajnadhrk  45 
Prajnantaka  180,  253,  colour  253,  direction 

253,  dhyana  253,  described  253,    images 

253,  Sakti  253 

Prajnantakrt  (of  south  gate),  46 
Prajnaparamita  1,  5,  10,  32,  43,  origin    197, 

worship   197,  sadhana    197,   forms   1^7, 

images  197  ;   another  form   326,   colour 

326,  symbol  326,  dhyana  32b,  described 

326,  images   326  ;   Cunda   described   in 

221 
Prajnavardhani   341,   colour   341,     symbol 

341,  dhyana  341,  described  341 
Pramudita  Bhumi  333,  colour  333,  symbol 

333,  dhyana  333,  described  334,  images 

334 

Pranabindu  26 
Pranayama  26 
Pramdhana  Paramita  327,  colour  327, 

symbol  327,  dhyana  327,  described  327, 

images  327 
Pranidhana  Vasita  331,  colour  331,   symbol 

331,  dhyana  331,  described  331,   images 

331 
Prasannatara  151,  222,  colour  151,  describ- 

151    ;   another   form   249,     colour    249, 

forms  249,   sadhana  249,   dhyana   249, 

described   249f,     symbols  250,  images 

250 
PratibhSnakuta  91,  colour  91,   faymbol   91, 

dhyana  91,  described  91,  images  92 
Pratibhanakuta  Lokelvara,  described  398 
Pratibhana  Pratiaamvit  343,   colour     343, 
symbol  343,  described  343,  images  343 
Pratibhasa  (revelation)  26 
Pratisari,  see  Mahapratieara  303 
Pratisamvits,  four  342,  meaning  342,    deifi- 
cation 342,  description  342,  source  342 


58 


458 


BUDDHIST  ICONOGRAPHY 


PratyahSra  26 

PratyekabuddhaySna  8 

Pratyekas  20 

Pratyekayana  9 

Prayer  21 

Preceptor  29 

Pretasantarpana  LokesVara,  described  395 

Pretasantarpita  141,  colour  141,  sadhana 
141,  dhyana  141,  described  142,  images 
142 

Principal  Hindu  deities,  ten  363,  their 
nature  3t>3,  their  popularity  363 

Prlti  (pleasure)  26,  186 

Priyadars'ana  160,  direction  IfcO,  form  160 

Process  of  evolution  30 

Prognosis  8 

Protectresses,  five  302,  Raksa  deities  302, 
their  nature  302,  their  images  302,  their 
popularity  332,  their  worship  302 

Psychic  culture  18 

Psychic  exercises  2,  8,  17,  24 

Psychic  power  17 

Publication,  of  original  MSS,  385 

PukkasI  311,  colour  311,  symbol  311, 
dhyana  311,  described  311,  images 
311 

Pupala  LokesVara,  described  396 

Purandani  212 

Purnagiri  16,  17 

Puspa  256 

Puspatara  241,  dhyana  241,  described    241 
R 

Raga  family  32 

Ragarati,  queen  of  Amitabha  46 

Rahu  207,  211,  as  vahana  149;  colour 
377,  symbol  377,  dhyana  377,  described 
377,  images  377 

Raj  shah  i  6,  38,  museum  at  38 

Rajayoga  26 

Rakhaldas  (Banerji),  1 

Raksa  deities*  five  302,  central  303,  second 
303,  third  304,  fourth  305,  fifth  305 

Rakta-LokesVara,  139,  forms  of,  139; 
form  (f)  four-armed  138,  colour  138, 
symbol  138,  sadhana  138,  dhyana  138, 
described  138,  companion  138,  images 
138;  /orm(n)  two-armed  138,  colour 
238,  symbol  138,  mudia  138,  sadhana 
138,  dhyana  138,  described  139 

Raktayamari  166,  252,  colour  166,  sadhana 


166,  worship   166  rites  166,  origin  of 

166,  dhyana  167,  described  167,  images 

167 
Ras*is,  twelve  (Twelve  Signs  of  the  Zodiac), 

383,   deified    383,  named   383,  images 

383,  nature  383 
Rati  186 
Ratnadakini     164,    colour    164,   direction 

164,  described  164 
Ratnadala  LokesVara,  described  429 
Ratnadhrk  45 
Ratnaketu  (same  as  Ratnasambhava)  45, 

origin  qf,  45 
Ratnakula  73 

Rarnakull  (Ratnasambhava)  49 
Ratnapani    Bodhisattva     74,     colour     74, 

symbol  74     family  74,   sire   74,   images 

74  ;  another  form  87,  colour  87,   symbol 

87,  dhyana  87,  described  87.  images  87 
Ratnapani  Lokcsvara,  described  399 
Ratnaparamita     324,   colour  324,  symbol 

324,  dhyana  324,  described  324,  images 

324 
Ratnasambhava  Dhyani  Buddha  73,  colour 

73,  mudra  73,   vahana   73,   symbol   73, 

family    73,  dhyana   73,    described   73, 

forms  74*  images  74,  gods  emanating 

from  237f,  their  enumeration  237,  their 

nature  237  ;  goddesses  emanating  from 

239,  enumerated  239,  their  nature  239 
Ratnolka   318,   colour   318,   symbol     318, 

dhyana  318,  described  318,  images  318 
Ratnolka  Dharini  338,  colour  338,    symbol 

338,  dhyana  338,  described  338 
Ratnosnisa  300,  colour  300,   symbol  300, 

direction  300,   dhyana    300,  described 

300,  images  300 
Ravicandra  14 
Rddhivalita  330,  colour  330    symbol  330, 

dhyana  330,  described  331,  images  331 
Religion  8 

Restraint  of  wrong  deeds  20 
Royal  Asiatic  Society  of  Bengal  3 
Rudra  187,  vahana  250 
Rupa  (form)Skandha,  42 
Rupa  heavens  31 
Rupini    218,    described    218,  form  321, 

dhyana  321,  described  321,  direction 

160,  form  160 
Russian  Academy  of  Sciences  4 


INDEX  OF  WORDS 


459 


Sabari  311,  colour  311,  symbol  311,  dhyatta 
311,  described  311,  images  311 

Sabaripa,  (Mahasiddha)  35 

Sadaksari  group,  127 

Sadaksari  LokesVara  6,  38,  125,  colour 
125,  mudrl  125,  symbols  125,  compa- 
nions 125,  forms  125,  dhyana  125,  des- 
cribed 126,  395,  images  126,  39 

Sadaksari  Mahlvidya  125,  forms  of  126, 
described  126 

Sadbhuja  Jambhala  179n 

Sadbhuja  Jambhalavajra  179n 

Sadbhuja  Sitatara  230,  colour  230,  dhyana 
230,  described  230,  images  230,  sadhana 
230  ;  white  308,  special  features  308 

Sadhana  2,  18,  24,  25,  27,  contents  of  19f, 
summary  of  23,  literature  35,  com- 
posed by  eminent  lantrics,  386,  essen- 
tial parts  of  386 

SadhanamaJa  2,  3,  16,  19,  20,  its  impor- 
tance 385,  its  date  385 

Sadhanasamuccaya  2,  19 

SadhumatI  Bhumi  336,  colour  336,  symbol 
366,  dhyana  366,  described  336,  images 
336 

Sadhus  18 

Sagaramati  Bodhisattva  87,  colour  87, 
symbol  87,  dhyana  87,  described  88, 
images  88 

Sagaramati  LokesVara,  described  399 

Sahasrapramardani  see  Mahasahasrapra- 
mardani 

Sahet-Mahet  38 

&akra  (Mara)  159 

Sakti  9 

Sakya  Bodhisattva  35 

Sakya  Buddha  35 

Sakyabuddha  LokesVara,  described  397, 
430 

Sakyasimha  (Mortal  Buddha)  76 

Samadhi  26,  visualisation  26 

Samantaprabha  Bhumi  337,  colour  337, 
symbol  337,  dhyfina  337,  described  337, 
images  337 

Samantabhadra  Bodhisattva  55,  family  55, 
symbol  55,  described  55,  images  55, 
heads  a  list  of  Bodhisattvas  62,  colour 
83,  symbol  83,  forms  83,  dhyana  83,  84 


described  83,  images  84  »  in  the  Loka- 
natha  Mandala  131,  colour  131,  symbol 
131,  described  131 

Samantabhadra  Lokesvara,  described  399 

Samanya  seva  25 

Samasrami  ed  :  Karandavyuha  1 1 

Samatata  16 

S  a  may  a  family  31,  45 

Sambara  160f,  varieties  160f,  colour  160, 
vahana  loO,  symbols  160,  Prajria  160, 
dhyana  161,  sadhana  161,  described 
161,  forms  of  161  ,  another  form  lt>l, 
colour  161,  Sakti  161  dhyana  162, 
described  162,  images  lt>2,  162n 

Sambararaja  Buddha  162n 

Sambhogakaya  210 

Sainbodhi  21 

Samjna  (name)  42 

Samksipta  Marlci  210,  211,  colour  211, 
residence  211,  described  211,  atten- 
dants 211 

Samskara  (conformations)  42 

Sanchi  5,  31 

Sangha  20  and  rules  of  discipline  13,  as 
god  32 

Sanglti  12,  13,  15,  45,  literature  14 

Sani  (planet),  377,  colour  377,  symbol  377, 
vahana  377  dh>ana  377,  described  377 

Sankhamunda  238 

Sankhanatha  Lokesvara,  described  430 

Sankhapala  (snake)  1 48 

Sanku  (in  Nepal)  248 

Sannyasms  18 

Santamati  Lokt'svara,  described  430 

Santaraksita  9,  15,  28,  41 

Santasi  Lokesvara,  dsecribed  397 

Santideva  35,  refers  to  Cunda  220 

Santikavidhi  166 

Saptaksar  162,Piajna  162,  mantra  162,  des- 
cribed 162f,  sadhana  163,  forms  of  163 

Saptasatika  Hayagriva  146,  colour  146, 
symbol  146,  special  feature  146,  sadhana 
146,  dhyana  146,  described  146,  images 
147 

Saptasatika  Kalpa  146,  147 

Saraha  (Siddhacaryya)  12,  16,  35,  137 

Sarasiri  (?)  Lokesvara,  described  429 

Sarasvat!  1,  349,  river  deified  349,  nature 
349,  goddess  of  learning  349,  forms  of 
349 


460 


BUDDHIST  ICONOGRAPHY 


Saranath  (also  Sarnath)  5,  6,  35,  museum  at 
38 

SarthavSha  Lokelvara,  described  428 

Sarvabuddhadharmakosavatl  342,  colour 
342,  symbol  342,  dhyana  342,  described 
342 

Sarvakarmavaranavisodhani  Dharinl  341, 
colour  341,  symbol  341,  dhyana  341, 
described  341 

Sarvanivaranaviskambhi  92f,  colour  92, 
symbol  92,  dhyana  93,  described  93, 
images  93 

Sarvanivaranaviskambhi  Lokesvara,  des- 
cribed 398 

Sarvapayanjaha  97,  colour  97,  symbol  97, 
dhyana  97,  described  97,  images  97 

Sarvarthasiddha  381,  name  of  the  Vidya- 
dhara  king  381,  colour  381,  dhyana, 
381,  described  381,  symbol  381 

Sarva^okatamonirghatamati  92,  colour  92, 
symbol  92,  dhyana  92,  described  92, 
images  92 

Sarva£okatamonirghatamati  Lokesvara,  des- 
cribed 398 

Sarvastivada  9 

SasVatn  209,  same  as  Vairocana  209 

§asVatavajra,  Tantric  author  190 

Sattvaparyanka,  meaning  of  224 

Sautrantika  8,  9 

Schools  of  philosophy  (Buddhist)  8 

Science  8 

Seasons,  six  383,  deified  383,  images  383n 

Sects,  of  Tantrics  44 

Sekanirnaya  9 

SevS  25 

Siddhas  2,  18,  34,  classes  of  18,  Mild  19, 
Middling  19,  Best  18 

Siddhacaryya,  Indrabhuti  150 

Siddhaikavlra  113,  colour  113,  mudra  113, 
symbol  113,  dhy&na  113,  described  113, 
sire  113,  mandala  114,  companions 
114,  images  114,  compared  to  Loka- 
r&tha  114 

Siddhis  18,  19,  24,  eight  18,  thirty-four  18 

Siddhiharga  VajracSryya  345 

Sikh!,  Mortal  Buddha  76 

SiJqasamucc0;ya  35,  Cunda  in  221 

&la  21 

&lapararoitfi  325,  colour  325,  symbol  325, 


dhyana  325,  described  325,  images  325 

Simbhu  (Svayambhunath)  6 

Simhanada  35,  127,  colour  127,  vahana 
127,  asana  127,  symbols  127,  images 
127,  dhyana  127,  described  127,  images 
127f,  39 

Simhanada  Lokesvara,  117n,  described  429 

Simhanada  LokesVara,  described  396 

Simhasya  321,  colour  321,  symbol  321, 
dhyana  321,  described  321,  images  321 

Simhavikridita  35 

Sirihatta  16,  17 

Sirisara  (?)  Lokesvara,  described  429 

Sitala,  233,  Hindu  goddess  of  small-pox 
233,  represented  233 

Sita-Prajnaparamita  197,  colour  197,  sym- 
bols 197,  sadhana  197,  dhyana  198,  des- 
cribed 198 

Sitatapatra  Aparajita  215,  colour  215,  sa- 
dhana 215,  dhyana  216,  described  216, 
different  from  Aparajita  216,  images  216 

Sitatara,  Caturbhuja  231,  308,  colour  231, 
mudra  231,  companions  231  dhyana 
232,  described  232,  images  232  ,  Sad- 
bhuja  308 

Sitavati,  see  Mahasltavati  153n.  305 

Siva  184  (Mara)  195,  vahana  ofVajrahun- 
kara  181,  and  Nilakantha  140 

Sixteen  Boddhisattvas  4 

Skandhas  11,  cosmic  elements  42,  (Mara) 
Brahma  J  59 

Small- pox,  Hindu  goddess  of  233,  repre- 
sented 233 

Smoke  (sign)  26 

Smrti  350 

Snake  poison  340,  Janguli  Dharim  effective 
against  340 

Snake  vahana  192 

Sounds,  gross  forms  of  47 

Source  books  on  Buddhism  4 

Sravakas  20 

Sravakayana  8,  9 

Sri  186 

£rImadaryy§valokitesVara,  described  431 

Srivasumukhi  203 

Srivasundhara  203 

Srhkhala  235,  meaning  of  235 

Srstikanta  Lokesvara,  described  399 

Stael  Holstein  3 


INDEX  OF  WORDS 


461 


Staff  129,  symbol  of  Hayagriva  129 

Sthaviras  13 

Sthiracakra  122,  colour  122,  mudra  122, 
symbol  122,  companion  122,  described 
122,  images  122 

String  2K) 

Strongholds  of  Tantric  learning  5 

Stupa,  the  Buddhist  Universe  32,  48,  resi- 
dence of  Vairocana  53 

Subha  160,  direction  160,  form  160 

Subhag§  160,  direction  160,  form  160 

Subhamekhala  160,  direction  160,  form  160 

Sucimudra  135,  of  dancing  134 

Sudhanakumara  118,  128,  129,  described 
129,  colour  129,  symbol  129 

Sudurjaya  Bhumi  335,  colour  335,  symbol 
335,  dhyana  335,  described  335,  images 
335 

Sugatas  20 

Sugatisandars'ana  141,  colour  141,    sadhana 

141,  dhyana  141,  described  141,   images 
141 

Sugatisandars'ana  Lokelvara,  described   396 

Sukarasya  320,  colour  320,  symbol  320, 
dhyana  320,  described  320 

Sukha  (happiness)  26 

Sukhavati  heaven  34,  49 

Sukhavati  Lokelvsra  142,  colour  142,  com- 
panions 142,  dhyana  142,  described 

142,  images     142  ;  another    form  395 , 
described  395 

Sukhavati  Vyuha  14,  34,  100,  143, 

Sukla  Kurukulla  148,  colour  148,  symbols 

148,  vahana   148,  sadhana   148,  dhyana 

148,  described  148,  wears  ornaments  of 

snakes  148 
&ukra  (planet)  377,    colour  377,  symbol 

377,  dhyana  377,  described  377 
Sumalinl  160,  direction  160,  form  160 
Sumati  Dharmi  338,   colour  338,   dhyana 

338,  described  338 
Sumbha  242,  direction  242,   colour    299, 

symbol  299,    dhyana     299,   described 

299,  images  299 
Sumbharaja  256,  colour  256,  direction  256, 

dhyana  256-  described  256,  £akti  256 
Sumedhas,  deified  35 
SundarS  160,  direction  160,  form  160 
Sundarl  160,  direction  160,  form  160 
Sunya  10,  11,  17,  25,  27,  28,  42,  meaning 


of  22,  various  functions  392,  various 
forms  392,  as  Nine  Rasas  (sentiments) 
392,  different  manifestations  391,  takes 
various  forms  391,  Heruka,  male  form 
of,  320,  Nairatma,  female  form  of  390, 
and  Nairatma  204 

Sunyata  30,  of  all  phenomena  22,  qualities 
of  11 

Sunyavada  8,  9,  11 

Supernormal  powers  23 

Superstition  8 

Suraksini  160,  direction  160,  form  160 

Surangama  Bodhisattva  98,  colour  98, 
symbol  98,  dhyana  98,  described  98, 
images  98 

Suryadhara  319 

Suryahasta  318,  colour  318,  symbol  318, 
dhyana  318,  described  318,  images  318 

Suryaprabha  120 

Svabha  Prajna   167 

Svanasya  320,  colour  320,  symbol  320, 
dhyana  320,  described  320 

Svayambhunatha,  stupa  of  32 

Svayambhu  Purana,  43,  100,  contains  an 
account  of  ManjusrI  lOOf 

Symbols  of  the  Buddha  31,  worship  of 
31 


Taditkara  318,  colour  318,  symbol  318, 
dhyana  318,  described  319,  images  319 

Takkiraja  254 ,  colour  254,  direction  254, 
dhyana  254,  described  254,  Sakti  254, 
images  254,  Cunda,  consort  of  222 

Taksaka  (snake)  148 

Talika  316,  colour  316,  symbol  316,  dhylna 
316,  described  316,  images  316 

Tamralipti  39 

Tandava  dance  44,  164 

Tangyur  19,  20 

Tantras  8,  9,  17,  24,  26,  34,  original  13,   14 

Tantrarahatya  190 

Tantrasara  190 

Tantric  Buddhism,  images  of  38 

Tantric  literature  8 

Tantric  period  2,  4 

Tantric  philosophy  2 

Tantrics,  powers  of  18 

Tantric  practices  10,  24 


462 


BUDDHIST  ICONOGRAPHY 


Tantrism  12,  godhead  in  23,  place  of  origin 

15 

TSra  1,  17,  20,  23,  38,  128,  colour  129,  des- 
cribed 129,  symbol  129  ;  another  form 
135,  colour  135,  symbol  135,  described 
135,  companion  of  Lokanatha  131,  des 
cribed  131,  hymbol  131,  mudra  131, 
epithet  of  226  ;  buddha'sakti  56,  colour 
56,  symbol  56,  family  56,  dhyana  56, 
described  56,  Hindu  189,  190 
Taras  307f,  of  blue  colour  309,  of  Green 
colour  307,  of  Red  colour  309,  of 
White  colour  308,  of  Ywllow  colour  308 

Taranath  12 

Tarinl  (same  as  Tara)  56 

Tarodbhava  Kurukulla  149,  colour  149, 
vahana  149,  sadhana  149,  described  149, 
images  149 

Tarpana  muJra  207 

Tathagatas,  path  of  the  20 

Tathagatakull  (Viarocana)  49 

Tathagata  Mandaia  45 

Tathata  Vas*ita  332,  colour  332,  symbol 
332,  dhyana  332,  described  332,  images 
332 

Tattvaratnavali  9 

TiJtt*a*angraha  9,  28 

Tejosnisa  301,  colour  301,  symbol  301, 
direction  301,  dhyana  301,  described 
301,  images  301 

Theories,  four  9 

Three  Jewels,  worship  of  32,  refuge  in  20 

Tibet(Bhota)  193 

Tibetan  I 

Tiksnosnisa  301,  colour  301,  symbol  301, 
direction  301,  dhyana  301,  described 
303,  images  303 

Time,  essence  of  23 

Time  deities,   382,  months    deified    382, 

djtes  deified  382,  seasons  deified  383,  Zo- 
diacal Signs  deified  383 

Tithis  (dates)  382,  defied  382,  images  382 

Trailokyaksepa  157 

Trailokyaviis'ankara  16,  137,  colour  137, 
symbol  137,  dhyana  137,  describ- 
ed 137,  sadhanas  137,  images  of  137 

Trailokyavijaya  255,  same  as  VajrahunkS- 
ra  182,  vahana  184,  sadhana  184,  dhyS- 
na  184,  described  185,  images  185; 
mudra  182,  182n,  152 


Trayastrims'a  heaven  31 

Tridandi  152, 

Trilokssandarlana  LokesVara,  described  396 

Tripitaka  185 

Trisamayaraja  35 

Tusita  heaven,  abode  of  Maitreya  80 

Twelve  Bhumis  4,  333 

Twelve  Paramitas4,  323 

Twelve  Vas*itas  4,  328 

Two  Lamaisuc  Pantheons  3 
U 

LJbhayavarahanana  (Marlcl),  212,  recogni- 
tian  mark  212,  described  212,  sadhana 
212,  colour  212,  residence  212 

Ucchusma  Jambhala  38,  245,  image  of  180, 
vahana  239,  described  239,  S a  math 
image  239 

Uddiyana  16,  149,  same  as  village  Vajra- 
yogini  17 

Uddiyana  Kurukulla  149,  colour  149,  vaha- 
na 149,  described  149,  images  149/place 
of  origin  149 

Uddij  ana  LokesVara,  137,  same  as  Rakca* 
LokesVara  137 

Uddiyana  Marici  214,  described  214 

Ugratara  119,  248 

Ulkadhara319 

Ulukasya319 

Universe  23,  goddess  identified  with  23 

University  Library,  Cambridge  4 

Upakelini  120,  121 

Upapatti  Vasita  330,  colour  330,  symbol 
330,  dhyana  330,  described  330,  images 

330 
Upasadhana  25 

Upaya  (means)  25,  26,  trampled  211 
Upayaparamita   327,    colour   327,   symbol 
327,  dhyana  327,  described  327,  images 

327 
Upeksa  (indifference),  21 

Upendra  250,  as  vahana  250 

Usnisa  256,  colour  256,  direction  256, 
dhyana  256,  described  256,  Sakti  256, 
images  256 

Usnisa  gods,  eight  299f,  general  character 
299,  appearance  299,  sources  299 

UsnisavijayS  214,  colour  214*  recognition 
214,  residence  214,  image  214,  caitya  on 
head  215,  sadhana  215,  dhyana  215, 
described  215,  images  215  ;  another  form 
298,  colour  298,  direction  242,  298, 


INDEX  OF  WORDS 


463 


dhyana  298,  described  298  images  298 
Usnisavijaya  Dharin!  215,  220,  338,  colour 

338,  symbol  338,  dhyana  238,  described 

338,  images  338 

Utnauti  (?)  Lokesvara,  described  397 
Ucpala  Mudra  22 
Uctama  seva  25,  26 
U  VahaHNepal)51n 


Vadali  211,  colour  211,  described  211 

Vadlrat  122,  vahana  122,  mudra  122,  des- 
cribed 122,  dhyana  133,  images  123 

VaglsVara  116,  colour  116,  vahana  116, 
symbol  116,  popularity  116,  dhyana 
116,  described  116,  images  117 

Vahyarthabhanga  8 

Vaibhasika  8,  9 

Vaipulyasutras  14 

Vairocana  45,  origin  45,  Dhyani  Buddha 
53,  colour  53,  mudra  53,  vahana  53, 
symbol  53,  dhyana  53,  described  53  ; 
eight-armed  form  54,  dhyana  54,  des- 
cribed 54,  images  54  ;  emanations  of 
206f 

VaisVavana  35 

Vajra  17,  43,  same  as  Sunya  10,  qualities 
of  11 

Vajrabhairava  347,  vahana  of  Mahakala 
347 

Vajrabhaskarl  163,  colour  163,  described 
163 

Vajrabhlsana  255 

Vajracarcika  199,  colour  199,  vahana  199, 
peculiar  feature  199,  sadhana  199. 
dhyana  199,  described  199,  images  200 

VajrScaryyas  34 

Vajradakini  163,  colour  163f,  described 
I63f,  direction  163f 

Vajradanda  952 

Vajradhara  42,  43,  forms  of  44,  dhyana  44, 
described  44,  and  VajrahunkSra  181, 
images  43f 

Vajradharma  125,  139,  142,  colour  142, 
symbol  142,  sadhana  142,  described 
142,  dhyana  143,  images  143,  as  sire  of 
Lokanatha  130 

Vajradharma  LokesVara,  described  396 

Vajradhatu  Buddha  54,  same  as  Vairocana 
54 


Vajradhatu  Lokesvara,  described  430 

Vajradhatu  Mandala  99;  on  Boddhisattvas 
99 

Vajradhatvilvarl  217,  Buddhas*akti  74, 
embodiment  of  highest  truth  74, 
colour  74i  symbol  74,  family  74,  images 
74 

VajradhatvisVarl  Marlcl  214,  forms  214, 
sadhana  214,  described  2J4,  symbols 
214 

Vajradhrk  45 

Vajra  family,  of  Aksobhya  48,    154 

Vajragandhari  151,  direction  151,  colour 
151,  descubed  151  ;  another  form  236, 
colour  236,  dhyana  236  described  236 
symbols  23o,  dharim  236,  images  236 

Vajragarbha  Bodhisattva  88,  colour  88, 
symbol  88,  dhyana  88  described  88, 
images  88 

Vajragarbha  LokesVara,  described  399 

Vajraghanta  242,  dhyana  242,  described 
242,  direction  242  ;  another  form  298, 
colour  298,  direction  298,  symbol  298, 
dhyana  2P8,  described  298,  images  298 

Vajraghona  2 1 7 

Vajrahuhkara  182,  form  (i)  two-armed,  181, 
symbols  181,  mudra  181,  vahana  181, 
sadhana  181,  dhyana  181,  images  182, 
rides  on  Bhairava  182  ;  form  (n)  six- 
armed  182,  same  as  Trailokyavijaya  182, 
described  182,  images  182,  compared 
with  Vajradhara  181 

Vajrahunkara  Mudra  181,  182n,  184 

Vajrahuntika  (?)  Lokesvara,  described  398 

VajrajvSlanalarka  183,  254,  sadhana  183, 
dhyana  183,  described  184,  vahana  134 

Vajrakarmaparamita  328,  colour  328, 
symbol  328,  dhyana  328,  described  328, 
images  328 

Vajrakhanda  Lokelvara,  described  429 
Vajrakula  254 

Vajrakuli  (Aksobhya)  49 

Vajrakundali  253 

VajrSmrta  226,    colour  226,    dhyana  226, 

described  226,  images  226,  yab-yum  226 

.Vajrananga  (Buddhist  god  of  love),    114, 

colour  114,  described  114,  worship  J14, 

dhy§na  114,  images  115 

Vajranatha  LokesVara,  described  431 
Vajrankufi  24 Z» 320,  dhyana  242,  described 


464 


BUDDHIST  ICONOGRAPHY 


242,   direction  242  ;  another  form  297, 
colour  297,  direction  297,  symbol   297, 
dhyana  297,  described  297,  images  297, 
in  the  Lokanatha  Mandala  131 
Vajrapani  43,  family   53,  site  53,   symbol 
53.     images    53  ;    as    Boddhisattva    98. 
colour  98,  symbol  98,  dhyana  98,   des- 
cribed 98,  images  99  ;    in    the   Lokana- 
tha Mandala  1 3 1 ,  colour   131,   symbols 
131,  described  131 
Vajrapani  Lokesvara,  described  431 
Vajrapanjara  90 

Vajrapasl  242,  320,  dhyana  242,  described 
242,  direction  242  ;    another  form  297, 
colour  297,  direction  297,  symbol  297, 
dhyana  297,  described  297,  images  297 
Vajrapatala  256,  another  name  of  Sunrbha 
Vajraraga  family  (same  as  Raga)  45 
Vajraraga     102,   form    of    Manjusr!    102, 
colour  102,  mudra  102,   names  of  102, 
dhyana  103,  described  103,  images    103 
and  Nilakantha  compared  141 
Vajrarati  46,  queen  of  Amoghasiddhi  46 
Vajraraudrl  163,  colour  163,  described  163 
Vajrasana  38,  Buddha    77,  later  form   of 
Gautama  77,  dhyana  77,   described   77, 
images  78 
Vajras*arada  351,  symbols  351,    described 

351,  images  351,  companions  351 
Vajrasarasvati  351,  described  351,   sadhana 

352,  colour  352,   symbols    352,   images 
352 

Vajrasattva  17,38,  43,  48,  Sixth  Dhyani 
Buddha  74  priest  of  the  Five  Dhyani 
Buddhas  74,  shrines  of  75,  forms  of  75, 
dhyana  75,  described  75,  images  75, 
worship  in  secret  75,  single  form 
75,  yab-yum  form  75,  Sakti  75 

Vajrasattvadhatu  LokesVara,  described  429 

Vajrasattv5tmik5  75,  Sakti  of  Vajrasattva 
75,  colour  76,  symbol  76,  form  76,  des- 
cribed 76,  images  76 

Vajrasphota  297f,  320,  colour  297,  direc- 
tion 297,  symbol  297,  dhyana  297,  des- 
cribed 298,  images  298 

Vajraspho{!  242,  dhyana  242,  described 
242,  direction  242 

Vajras*snkhala  235,  colour  235,  symbol 
235,  sadhana  235,  dhyana  235,  describ- 
ed 235,  symbol  235,  sadhna  235,  dhyana 


235,  described  235,  forms  235,  images 
235,  consort  of  Heruka  217 
Vajrasrsta  Lokesvara,  described  430 
Vajratara  240,  sire  240,   dhyana  240,   des- 
cribed 240,  popularity  240,  images  240, 
Indian  Museum  image    240,  Mandala 
241}   companions    241,    sadhana    24 1> 
mantra  242  images  of   243,   yellow  308, 
special    features    308,     mandala     240, 
origin  of  ten  goddesses  243 
Vajravairocani  218,  dhyana  247,   described 

247 

Vajravali  nama  Mandalopayika  4 
Vajravarahi    160,   Sakti    of  Sambara    161, 

162,  Sakti  of  Saptaksara   162,   colour 

163,  described    163  ,  another  form   218, 
companions  218,    colour    218,   symbol 
sadhana  218,  dhyana  218,  described  218, 
mantra  208,  special  feature  217  connec- 
tion with  Heruka  217,   compared  with 
Marlci  208,  217,  compared  with  Nairat- 
ma   203,   compared    with    Vajrayogini 
243 

Vajravarahi  Tantra  4,  208 

Vajravarnani  247,  dhyana  247,  described 
247 

Vajravetali  151,  direction  151,  colour  151, 
described  15 1,2 14 

Vajravidarani  205,  dhyana  205,  described 
205,  images  205 

Vajravina  Sarasvati  350,  colour  350,  sym- 
bol 350,  images  350 

Vajrayaksa  254 

Vajrayana  2,  7,8,9,11,  14,  31,  34,  Bu- 
ddhism 38,  Pantheon  38,  Buddhists  2, 
origin  of  12,  and  Yogacara  10,  Hindu 
gods  m  344 

Vajrayanists  14 

Vajrayogini  1,  16r  17,  149,  consort  of  He- 
ruka 21 7  forms  of  247  ;  form  (i)  head- 
less 247,  dhyana  247,  described  247 
companions  247  ;  form  (ii)  red  248, 
colour  248,  vahana  symbols  248,  des- 
cribed 248,  compared  with  Nairatma 
ann  Vajravarahi  248  ;  form  (lii)  yellow 
248,  colour  248,  symbol  248,  described 

248,  consort  of  Heruka  248,     images 

249,  temple  248 

Vajrayogini  137,  name  of  a  village  in  Vik- 
rampur  137,  identified  as  Uddyana  137 


INDEX  OF  WORDS 


465 


Vajrosmsa  299,  colour  299,  symbol  299, 
direction  299,  dhyana  299,  described 
300,  images  300,  statuette  25  ^  ?53n 

Vajrosmsa  Lokesvara  398 

Vak  6     ' 

Vams'a  314,  colour  314,  symbol  314, 
dhyana  314,  described  314 

Vanga  16 

Vangiya  Sahitya  Parisat  122,  museum  at  38 
Varada   Tara   337,  green  307,   special  fea- 
tures 307 

Varadayaka  Lokesvara,  described  395 

Varahamukhl  211,  colour  211,  described 
211 

Varahl  364,  colour  364,  symbol  364,  vaha- 
na  364,  dhyana  364,  described  364, 
images  364 

Varali211,colour211,  described  211 

Varttali  211,  colour  211,  described  211 

Varttali  group  213 

Varuna  361,  colour  361,  vahana  361,  direc- 
tion 361,  dhyana  361,  described  361, 
images  361 

Vasanta  186,  27^,  colour  379,  symbol  379, 
vahana  379,  dhyana  379,  described  379 

Va&ita  goddesses,  twelve  328,  their  natuie 
328,  general  description  328,  their 
forms  328,  their  images  329 

Vasubandhu  12 

Vasudhara  38,  colour  244,  symbol  244, 
saJhana  202,  244,  dhyana  245,  described 
245,  images  245,  foims  245,  another  form 
202,  colour  202,  symbol  202,  antiquity 
202,  dhyana  202,  described  202f,  com- 
panions 203,  images  39,  203 

Vasuki  (snake)  140,  148 

Vasumatisri  203 

VasusYi  203 

Vasyadhikara  Lokesvara,  described  395 

Vasyatara  230,  differented  230,  images  230, 
Asana  229,  symbol  229,  colour  229; 
green  307,  special  features  307 

Vas*ya  Vajravarahi  219,  symbols  219, 
vahana  219,  purposes  219,  described 
219,  images  21 9 

Vayu  362,  colour  362,  vahana  362,  direc- 
tion 362,  dhyana  362,  described  363, 
images  363 


Vedana  (sensation)  42 

Veil  of  ignorance  30 

Veta1i310,  colour  3 10,  symbol   310,  dhya- 

na  310,  described  310,  images  311 
Vibrations  (sound)  2S,  of  word   and  letter 

29 

Vicara  (thinking)  26 
Vidya  24,  embodiment  of  220 
Vidyadharapitaka  14 
Vidyadharaking  381 
Vidyadharas,  lords  of  37C> 
Vidyapati  Lokesvara,  described  430 
Vidyujjvalaktirah  1^4,  colour    J94,  vahana 

194,  symbols  194,  dhyana  1^4f,  describ- 
ed 195f 
Vighnas  197,   meaning   of  180,   obstacle  — 

name  given  to  Gane^a  3H9 
Vighnantaka  IK),  sadhana  180,  dhyana  180, 

origin  180,    described    181,  images  18]  ; 

another  /Orm  253f,  colour  2^3,  direction 

253,  dhyana  253,    described    254,    Sakti 

254,  images  254 

Vighnantakrt,  (of  the  southern  gatej  46 

Vijnana  1 J ,  consciousness  42 

Vijnanavada  8,  ^>,  10,   11, 

Vikalaiatri  160,  direction  160,  form  160 

Vikrampur  16,  3«,   137 

Vikramasila  6,  41.  monastery  3 

Vilokim  135,  colour  135,  symbol  135,  des- 
cribed 1  35 

Vimala  Lhumi  334.  colour  334,  symbol 
334,  dhyana  334,  described  334,  images 
334 

Vimalapxabha  187 

Vma  315,  colour  315,  symbol  315,  dhyana 
315,  described  315,  images  315 

Vmadhara315 

Vipasyi  (Mortal  Buddha)  76 

Virabana  126,  attitude  of  Sadaksari  Mahi- 
vidya  126 

Virman  (Citrakara)  7 

Viryaparamita  325,  colour  325,  symbol  325, 
dhyana  325,  described  325,  images  326 

Visahari  193,  (Hindu)  193 

Viskambhin  93,  short  name  of  Saravaniva- 
ranaviskambhin  93,  in  the  Lokanatha 
Mandala  131,  colour  131,  symbols  131 
described  131 


59 


466 


BUDDHIST  ICONOGRAPHY 


Vismi  363,  vahana    363,     described  363, 

images  363,  Mara    159,    195,  as  vahana 

136 

Visnucakra  LokesVara,  described  430 
Visnukanta  LokesVara,  described  430 
Visnupani  Lokelvara,  described  429 
VisVabhu  (Mortal  Buddha)  76 
Visvabhuta  LokesVara,  described  430 
VisVadakml  164,  colour  164,  direction  164, 

described  164 

Visvahana  Lokelvara,  described  397 
VisVamata  308,  white  308,  special  features 

308 
VisVapadma  135,   colour  135,  symbol    135, 

described  135 
VisVapadmesvarl  135,   colour  135,   symbol 

135,  decribed  135 
VisVapani  Bodhisattva   73,  colour  73,   sire 

73,  family  73,  described  73,  images  73 
VisVavajra  135,   colour   135,   symbol   135, 

described  135 

VisVavajra  Lokesvara,  described  429 
Visvosmsa   300,   colour  300,   symbol  300, 

direction    300,   dhyana   300,     described 

301,  images  301 
Vitanadhara  317 
Vitarka  (cogitation)  26 
Vogel  (J  Pn.)  35n 
Vrsnacana  (?)  LokesVara,  described  397 


Yaksims  238,  eight,  enumerated  238 
Yama  35,  origin  of  166,   form  352,   colour 
352,  vahana  352,  direction  352,   dhyana 
352,  described  361,  images  361 
Yamantaka  6,  1 17, 1 18,166,  167, 180,  colour 
252,  direction  252,  dhyana  252,  describ- 
ed 252,  Sakti  252,  images  252 

Yamantakavajra  167 

Yamantakrt  46,  (of  the  east  gate)  46 

Yamadanda  LokesVara,  described  397 

Yamaduti  347,  companion  of  Mahakala 
347,  colour  347,  symbol  347,  direction 
347,  described  347 

Yamari  252  (another  name  of  Yamantaka) 

Yanas  8,  three  9 

Yasodhara  79 

Yoga  8,  9,  17,  24,  and  its  six  limbs  26 

Yogacara  8,  9,  28 

Yogambara  186,  colour  186,  variety  186, 
Sakti  186,  dhyana  18t>,  described  186, 
images  186,  sire  186 

Yo?ins  18 

Yogini  236,  epithet  of  Vajragandhari  236 

Yoginis  247,  companions  of  Vajrayogini 
247 

Yogimjala  Tantra  4 

Yuan  Chwang  35,  see  Hiuen  7 h sang 

Yugaraddha  (yab-yum)  217 

Yun -gar's  attack  on  monastery  217 


W 

Waddell  (Mr.  L.  A.),  1 

Walter  Eugene  Clark,    Professor  3 

Weapons  392,  their  significance,  392,  vari- 
ty  of  392,  expression  of  Bodhicitta  392, 
explanations  of  391, -meanings  of  392 

Whitney  (Mr.  W.  B.)  221 

Will  to  Enlightenment  25 


Zodiacal  Signs  (Ras*is)   383,  number  383, 
deified  383,  images  383. 


Yab-yum  43,  form  of  the  deity  30,  meaning 
and  significance  391,  393,  Sunya  comm- 
ingled with  KaronS  390,  infinite  meets 
with  the  infinite  393 

Yaksas  35,  eight,  enumerated  238,  lords  of 
379,  kings,  eight  380,  their  names  380, 
their  symbols  380,  their  descriptions 
380 


INDEX  OF  ILLUSTRATIONS 


Acalaketu  Lokesvara  (Fig  79-A),  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu,  420,  described  429 

Acata  (?)  Lokesvara  (Fig  28-A),  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu,  407,  described  397 

Adibuddha  Vajradhara  (Fig  12),  Nepalese 
painting  in  a  full-page  picture  57,  des- 
cribed 43 

Agni  (Fig  237),  metal  statuette  in  the  Palace 
Temple  at  Peiping  371.  described  362 

Akasagarbha  (Fig  52),  Nepalese  drawing, 
70,  described  86 

Akasagarbha  LokesVara  (Fig  49-A)  eye 
copy  of  painting  in  the  Machhandai 
Vahal,  Kathmandu  413,  described  399 

Aksayamati,  Nepalese  drawing,  69,  des- 
cribed 85 

Aksayamati  (Fig  50),  metal  statuette  in  the 
Palace  Temple  at  Peiping,  70,  described 
85 

Aksayamati  Lokesvara  (Fig  51 -A),  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  413,  described  399 

Aksobhya  Dhyani  Buddha  (Fig  22)  Nepa- 
lese miniature  in  the  collection  of 
Dr.  W.  Y.  Evans-Went::,  60,  described 
52 

Aksobhya  Dhyani  Buddha  (Fig  2 3)  Nepa-^ 
lese  sculpture  from  a  roadside  stupa  at 
Katbmandu,  61,  described  52 

Amitabha  Dhyani  Buddha  (Fig  19),  Nepa- 
lese miniature  in  the  collection  of  Dr. 
W.  Y.  Evans- Wentz  60,  described  50 

Amitabha  LokesVara  (Fig  87-A),  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  422,  described  429 

Amitaprabha  (Fig  61),  Nepalese  drawing 
105,  described  91 

Amoghasiddhi    Dhyani    Buddha  (Fig  33), 


Nepalese  miniature  in  the  collection  of 
Dr.  W.  Y.  Evans-Wen'z  64,  described 
5o 

Amoghasiddhi  Dhyani  Buddha  (Fig  34) 
Nepalese  sculpture  from  a  roadside 
stupa  at  Kathmandu  64,  described  56 

Amoghadarsm  (Fig  72)  Nepalese  drawing 
109,  described  98 

Amoghapas'a  Lokesvara  (Fig  71 -A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu,  4 IK,  described  428 

Amrtaprabha  Lokesvara  ^Fig  41-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  41 1,  described  398 

Anandadi  LokesVara  (Fig  7-A)  eye  copy  of 
painting  in  the  Machhandar  Vahal, 
Kathmandu,  402,  desciibed  395 

Aparajita  (Fig  18C)>,  lower  half  oi' a  muti- 
lated sculpture  discovered  at  Nalanda 
291,  described  240 

Aparajita  (Fig  190)  lull  image  in  stone  in 
the  Indian  Museum  292,  described  246 

Arapacana  (Fig  92)  Baroda  Museum  metal 
statuette,  172,  described  121 

Arapacana  (Fig  fc>9),  full -page  illustration 
of  a  sculpture  in  the  Dacca  Museum 
171,  described  120 

Arapacana  (Fig  90),  Javanese  sculpture  now 
in  the  Berlin  Museum  172,  described 
121 

Arapacana  (Fig  91),  Nepalese  metal  statue- 
tte 172,  described  121 

Arya-Sarasvati  (Fig  234),  Nepalese  drawing 
of  the  goddess  370,  described  351 

Astabhuja  Marie- i  (Fig   152)  artistic  piece 
in  the  Indian  Museum   in    a  full-page 
'illustration  275,  described  212 
'  Astabhuja  MaricI  (Fig  153),   Indian  Muse* 
urn  sculpture  276,  described  212 

Astabhuja  Mfcrlcl  (Fig  154»,  Lucknow 
Museum  sculpture  276,  described  212 


468 


BUDDHIST  ICONOGRAPHY 


Avalokita  LokesVara  (Fig  44- A),  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  411,  described  399 

Avalokitesvara  (Fig  57),  Nepalese  drawing, 
72,  described  89 


of  the  deity  in  Yab-yum,  266,  described 
160 

Buddhist  Triad  (Figs  9,  10,  11)   see  Triad, 
Buddhist 


B 


Baudh  (Fig  7)  a  famous  stupa  in  Nepal, 
37,  described  32 

Bhadrapala  (Fig  69),  Nepalese  drawing  108, 
described  97 

Bhrkutl  (Fig  123),  statuette  in  metal  in 
the  Palace  Temple  at  Peipmg  265,  des- 
cribed 153 

Bodhi  Tree  (Fig  2),  Lord  Buddha's  symbol 
from  the  gateway  at  Sanehi,  33,  des* 
cribed  31 

Brahma  (Fig  239)  metal  statuette  of  the 
deity  riding  the  swan  vehicle  in  the 
Palace  Temple  at  Peiping  372,  described 
363 

Brahmadanda  Lokesvara  (Fig  27-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  407,  described  397 

Buddha  (Fig  10)  Nepalese  metal  statuette 
showing  Lord  Buddha  in  the  Bhusparsa 
mudra  in  the  collection  of  Pandit 
Siddhiharfaha  Vajracaryya,  40,  des- 
cribed 32 

Buddha  in  different  mudras  (Fig  17)  panel 
showing  four  figures  of  Lord  Buddha 
in  four  different  mudras  in  the  Nalanda 
Museum  59,  described  48 

Buddha  in  different  mudras  (Fig  18)  run- 
ning panel  showing  Lord  Buddha  in 
different  mudras,  from  Java  59,  des- 
cribed 48 

Buddha's  Footprints  (Fig  4)  on  a  Bharhut 
bas-relief  preserved  in  the  Indian 
Museum  36,  described  31 

Buddha's  Head-dress  (Fig  3)  or  hairlock(?) 
as  it  appears  on  Bharhut  bas-relief  pre- 
served in  the  Indian  Museum  36,  des- 
cribed 31 

Buddhakapala  (Fig  127)  Baroda  Museum 
metal  statuette  without  the  Sakti  266, 
described  160 

Buddhakapala  (Fig  126)  Nepalese   drawing 


Candarosana  (Fig  124)  Nepalese  drawing 
depicting  the  deity  in  Yab-yum  265,  des- 
cribed 155 

Candraprabha  (Fig  59;  Nepalese  drawing 
105,  described  90 

Candraprabha  Lokesvara  (Fig  43-A)  eye 
cop37  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  411,  described  398 

Cintamani  Lokc&vara  (Fig  94-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  424,  described  430 

Cittadhatu  Lokesvara    (Fig   93-A)  eye   copy 
ol  painting  in  the  Maohhandar  Vahal, 
Kathmandu,  424,  described  430 

Cunda  (Fig  163)  Baroda  Museum  statuette 
of  the  sixteen-armed  deity,  280,  des- 
cribed 223f 

Cunda  (Fig  164)  sculpture  of  the  deity  in 
the  Hindu  monastery  at  Bodh  Gaya 
280,  described  224 

Cunda  (Fig  162)  miniature  painting  of  the 
sixteen  armed  variety  in  MS  No.  Add 
1643  (Prajnaparamita)  in  the  University 
Library,  Cambridge  280,  described  223 

Cunda  (Fig  161)  fine  statuette  of  the  four 
armed  variety  in  the  collection  of  the 
late  Mr.  W.  B.  Whitney  of  New  York 
297,  described  Z21 


^Dakinl  (Fig  217)  metal  statuette  in  the 
Palace  Temple  at  Peiping  357,  described 
322 

Dasabhujasita  Marlci  (Fig  155)  Nepalese 
drawirg  of  the  ten-armed  goddess  278, 
described  213 

DalamlTithi  (Fig  245)  metal  statuette  in 
the  Palace  Temple  at  Peiping  374,  des- 
cribed 382 

Devadevata  Lokesvara  (Fig  72-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 


INDEX  OF  ILLUSTRATIONS 


469 


Kathmandu  418,  described  428 

Dhanada  Tara  (Fig  172)  Ncpalese  drawing 
of  the  four'armed  deity  284,  described 
231 

Dharmacakra  Lokesvara  (Fig  81 -A)  e^e 
copy  of  painting  in  the  Machhnndar 
Vahal,  Kathmandu  421,  described  429 

Dharmadhatu  Lokesvara  (Fig  90-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  423,  described  430 

Dharmamegha  (Fig  223)  metal  statuette  of 
the  Bhumi  goddess  in  the  Palace  Tem- 
ple at  Peipini*  358,  described  33t> 

Dhvajagrakeyura  (Fig  147)  Nepaleso  diaw- 
ing  of  the  four-armed  goddess  274,  des- 
cribed 202 

Dhyana  Paramita  (Fig  219)  metal  statuette 
in  the  Palace  Temple  at  Peiping  357, 
described  326 

Dipa  (Fig  213)  metal  statuetie  in  the  Palace 
Temple  at  Peiping  355,  described  318 

Dombi  (Fig  205)  metal  statuette  in  the 
Palace  Temple  at  Peiping  353,  described 
312 

Dream,  Maya's,  see  Maya's  Dream 


Ekajata  (Fig  138)  stone  figure  as  companion 
of  Khadiravanl  Tara  in  the  Indian 
Museum  270,  described  194 

Ekajata  (Fig  139)  Nepalese  drawing  270, 
described  194 


Footprints,   Buddha's  see  Buddha's  Foot- 
prints 
Four-armed  Ganapati,  see  Ganapati 


Gaganaganja  (Fig  53)  Nepalese  drawing  71, 
described  87 

Gaganaganja  Lokesvara  (Fig  48-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  412,  described  399 

Ganapati  (Fig  228)  twelve-armed  metal 
figure  in  the  collection  of  the  Dowager 
Maharani  Chimanbai  Gaekwad  of  Baro- 
da  360,  described  348 


Ganapati,  four-armed  (Fig  227)  metal 
image  of  the  god  in  a  dancing  attitude 
in  the  collection  of  Dr.  Mophe  of  Khar 
(Bombay),  360,  described  348 

Ganapati  (Fig  241)  metal  statuette  showing 
the  deity  with  the  Rat  vehicle  in  the 
Palace  Temple  at  Peiping  372,  described 
365 

Ganapatttirdaya  (Fig  229)  Nepalese  minia- 
ture in  the  collection  of  Dr.  W.  Y. 
Evans-Wentz  360,  described  349 

GanJhahasti  (Fig  67)  Nepjlese  drawing  107 
described  Q6 

Ghasmari  (Fig  203)  metal  statuette  in  the 
Palace  Temple  ut  Peiping  296,  described 
311 

Gita  (Fig  207)  metal  statuette  in  the  Palace 
Temple  at  Peiping  353,  described  313 

Grahamatrka  (Fig  165)  Nepalese  miniature 
in  the  collection  of  Dr.  W.  Y  Evans- 
Went::  282,  described  225 

H 

Halahala  (Fig  109)  full-size  stone  image  in 
a  monastery  at  Kathmandu  260,  describ- 
ed 132 

Halahala  Lokesvara  (Fig  3- A)  eye  copy  of 
painting  in  the  Machhandar  Vahal, 
Kathmandu  401 

Harihara  Lokesvara  (Fig  84- A)  eye  copy  of 
painting  in  the  Machhandar  Vahal, 
Kathmandu  421,  described  429 

Harihariharivahana  (Fig  113)  Nepalese 
drawing  of  the  deity  riding  on  Visnu, 
Garuda  and  Lion  261,  described  137 

Harihariharivahana  Lokesvara  (Fig  4-A) 
eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  401,  described 
394 

Harivahana  LokesVara  (Fig  82-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  421,  described  429 

Hayagrlva  (Fig  128)  Nepalese  di  awing 
showing  the  horse-neck  on  the  head, 
266,  described  165 

Hayagrlva  (Fig  129)  metal  statuette  in  the 
Palace  Temple  at  Peiping  267,  described 
165 

Hayagrlva  LokesVara  (Fig)  1-A  eye  copy  of 
painting  in  the  Machhandar  Vahal, 


470 


BUDDHIST  ICONOGRAPHY 


Kathmandu  401,  described  394 
Head-dress,  Buddha's   see  Buddha's  Head- 
dress 

Heruka  (Fig  125)  Dacca  Museum  sculpture 
265,  described  156 

1 

Indra  (Fig  236)  metal  statue  in   the  Palace 
Temple  at  Peiping  371,  described  352 

J 

Jalinlprabha  (Fig    60),   Nepalese    drawing 

105,  described  90 
Jalinlprabha  LokesVara  (Fig  42- A)  eye  copy 

of  painting  in   the   Machhandar  Vahal, 

Kathmandu  411,  described  398 
Jambhala   (Fjg    176)  fine    Nepal     statuette 

in   stono   in   the   possession   of   Pandit 

Siddhiharsha  Vajracaryya  286,  described 

238 
Jam bhal  i  (Fig  177)  full   page   reproduction 

of  an  artistic  specimen   discovered  at  a 

roadside  shed  near  Rampal  in  Vikram- 

pur  287,  described  238 
Jambhala  (Fig  ]  78)  small  statuette  in  .stone 

discovered   at   a     road-side  &hed    near 

Rampal    in  Vikrampur  288,   described 

238 
Jambhala  (Fig  179)  Nepalese  drawing  of  the 

yab-yum  figure  288,  described  239 
Janguli  (Fig    137)     Nepalese   drawing    269* 

described  192 
Jatamukuta  LokesVara  (Fig  12-A)  eye   copy 

of  painting  in   the   Machhandar  Vahal, 

Kathmandu  403,  described  395 
Jnanadhatu  Lokesvara  (Fig  36- A)  eye  copy 

of  painting   in  the  Machhandar  Vahal, 

Kathmandu  409,  described  398 
Jnanaketu  (Fig  68)   Nepalese  drawing    108, 

described  96 


K 


Kalacakra  (Fig  134)  Nepalese  drawing 
showing  this  rare  deity  in  yab-yum  268, 
described  188 

Kamalacandra  LokesVara  (Fig  77- A)  eye 
copy  of  'painting  in  the  Machhandar 
Vahal,  Kathmandu  420,  described  429 


Kamandalu  Lokesvara  (Fig  10- A)  eye  copy 
of  painting  in  the  Machhandar  Vahal > 
Kathmandu  403,  described  395 
Kapata  (Fig  212)  metal  statuette  in  the 
Palace  Temple  at  Peiping  355,  described 
317 

Karandavyuha    LokesVara  (Fig  37-A)  eye 
copy  of  painting  in    the  Machhandar 
Vahal  4 10,  described  398 
Kathe  Simbhu  (Fig  1)  medium  sized  stupa 

in  Kathmandu,  37,  described  32 
Ketu  (Fig  243)  metal  statuette  of  the  planet 
in  the  Palace  Temple  at    Peiping  373, 
described  378 

Khadiravani  Tar  a  (Fig  166)  beautiful 
bronze  in  the  Baroda  Museum  without 
companions  282,  described  227 
Khadiravani  Tara  (Fig  249)  unique  sculp- 
ture showing  the  eight  deities  of  the 
Tara  mantra  in  the  Dacca  Museum,  375 
described  388 

Khadiravani  Tara  (Fig  167)  Indian  Museum 
sculpture  with  Asokakanta  and  Ekajata 
282,  ciesciibed  227 

Khadiravani  Tara  (Fig  166)  artistic  speci- 
men  discovered   at  Mahoba  and  LOW 
deposited   in  the  Provincial     Museum 
at  Lucknow  281,  described  227 
Khasaipana   (Fig  103)     discovered    in  the 
Pargana   Vikrampur,   Dacca    in    a  full 
page  reproduction  257,  described  130 
Khasarpana     (Fig    104)     Indian      Museum 

sculpture  259,  described  130 
Khasarpana  Lokesvara  (Fig  21-A)  eye   copy 
of  painting  in  the   Machhandar   Vahal, 
Kathmandu  406,  desciibed  396 
Krtanjali  Lokesvara  (Fig  98- A)  eye  copy  of 
painting  in  the    Machhandar      Vahal, 
Kathmandu  425,  described  430 
Ksitigarbha  (Fig  51)  Nepalese  drawing  of 

the  Bodhisattva  70,  described  85 
Ksitigarbha  LokesVara  (Fig  50-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu,  413,  described  399 
Kumbha  (Fig   247)   metal  statuette  of  the 
Sign  of  the  Zodiac  in  the  Palace  Temple 
.    at  Peiping  374,  described  383 
Kurukulla  (Fig  121)   Nepalese    drawing  of 
the  deity  showing  the  bow  and  arrow  of 


INDEX  OF  ILLUSTRATIONS 


471 


flowers  264,  described  149 
Kurukulla  (Fig  122)  metal  statuette  in  the 
Palace  Temple  at  Peiping  264,  described 
149 


Lama  (Fig  218)  Nepalese  painting  of  the 
goddess  in  a  full  page  illustration  376, 
described  322 

Lasya  (Fig  205)  metal  statuette  in  the 
Palace  Temple  at  Peiping  353,  described 

313 

Locana  Buddhas*akti  (Fig  31)  Nepalese 
miniature  63,  described  55 

Lokanatha  (Fig  106)  Baroda  Museum  me- 
tal statuette  259,  described  132 

Lokanatha  (Fig  105)  Mahoba  sculpture 
now  in  the  Lucknow  Museum  258,  des- 
cribed 132 

Lokanatha  (Fig  108)  ivory  imago  in  a  pri- 
vate collection  in  Kathmandu  (Nepal) 
260,  described  132 

Lokanatha  (Fig  107)  Torso  in  the  Sarnath 
Museum  259,  described  107 

Lokanatha  Raktaryyavalokitesvara  (Fig 
18-A)  eye  copy  of  painting  in  the  Ma- 
chhandar  Vahal,  Kathmandu  405,  des- 
cribed 396 

M 

Maha-Abhayakari  LokesVara  (Fig  64-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  416,  described  400 

Maha-Abhayaphalada  LokesVara  (Fig  63-A) 
eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  416,  described 
400 

Mahacandrabimba  LokesVara  (Fig  61  *A) 
eye  copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  416,  described  400 

Mahaclna  Tara  (Fig  135)  Nepalese  drawing 
of  the  goddess  269,  described  191 

Mahaclna  Tara  (Fig  136)  Nepalese  drawing 
of  the  goddess  269,  described  191 

Mahakala  (Fig  226)  exceedingly  fine 
specimen  of  the  two-armed  form  of 
the  violent  god  in  stone  in  the  collec- 
tion of  Pandit  Siddhiharsha  Vajracaryya 
of  Nepal  359,  described  345 


Mahamanjubhuta    LokesVara     (Fig  65-A 
eye  copy  of  painting  in  the   Machhan- 
dar Vahal,   Kathmandu  417,   described 
428 

Mahamanjudatta  LokesVara  (Fig  60-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  415,  described  400 

MahamantranusarinI  (Fig  198)  Nepalese 
miniature  in  the  colleuion  of  Dr.  W. 
Y.  Evans- Wentz  294,  described  305 

Mahamayuri  (Fig  200)  Nepalese  miniature 
in  the  collection  of  Dr.  W  Y.  Evans- 
Wentz295  described  305 

Mahapatala  Lokf'Svara  (Fig  59-A)  eyo  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  415,  described  400 

Mahapratisara  (Fig  185)  Dacca  Museum 
''mage  of  the  eight-armed  deity  290, 
described  244 

Mahapratisara  (Fig  184)  sculpture  of  the 
deity  in  the  Dacca  Sahitya  Parisat  290, 
described  244 

Mahapratisara  (Fig  196)  Nepalese  minia- 
ture in  the  collection  of  Dr.  W.  Y. 
Evans-Went:  294,  described  303 

Maharatnakirti  Lokesvara  (Fig  55-A)  eye 
copy  of  painting  in  the  Macnhandar 
Vahal,  Kathmandu  414,  described  399 

Maharatnakula  Lokesvara  (Fig  58-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  415,  described  400 

Mahasahasrabhuja  LokesVara  (Fig  5 4- A) 
eye  copy  of  painting  in  the  Machhan* 
dar  Vahal,  Kathmandu  414>  described 
399 

Mahasahasrapramardani  (Fig  197)  Nepalese 
miniature  in  the  collection  of  Dr.  W. 
Y.  Evans  Went*  294,  described  304 

Mahasahasrasuryya  Lokesvata  (Fig  5  7- A) 
eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  415,  described 
400 

MahalankhanStha  LokesVara  (Fig  56-A) 
eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  414,  described 
400 

MahSsarasvati  (Fig  230)  Nepalese  drawing 
of  the  goddess  369,  described  350 

Mahafitavati  (Fig  199)  Nepalese  miniature 


472 


BUDDHIST  ICONOGRAPHY 


to  the  collection  of  Dr.  W.  Y,  Evans 
Wentz  295,  described  305 

MahSsri  Tara  (Fig  169)  full-page  reproduc- 
tion of  an  artistic  sculpture  in  the 
Indian  Museum  with  the  Dhyani 
Buddha s  and  the  four  companions  283, 
described  229 

Mahasthamaprapta  (Fig  58)  Nepalese  draw* 
ing  of  the  Bodhisattva  72,  described 
89 

Mahasthamaprapta  Lokesvara  (Fig  106-A) 
eye  copy  of  painting  in  the  Machhan- 
dar  Vahal,  Kathmandu  427,  described 
431 

Mahasuryyabimba  LokesVara  (Fig  62-A) 
eye  copy  of  painting  in  the  Machhan- 
dar  Vahal,  Kathmandu  416,  described 
400 

Mahattarl  Tara  (Fig  201)  beautiful  Nepa- 
lese statuette  in  the  collection  of  Pan* 
dit  fchddhiharsha  Vajracaryya  of  Nepal 
295,  described  307 

Mahavajradhatu  Lokesvara  (Fig  67-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  417,  described  428 
Mahavftjradhrk  LokesVara  (Fig  68-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  417,  described  428 

Mahavajranatha  Lokesvara  (Fig  70-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  418,  described  428 

Mahavajrapani  Lokesvara  (Fig  69-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  418,  described  428 

Mah&vajrasattva  LokesVara  (Fig  29-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  408,  described  397 

Mahavisvasuddha  LokesVara  (Fig  66  A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  417,  described  428 

Mahesvara  (Fig  240)  metal  statuette  with 
the  Bull  vehicle  in  the  Palace  Temple  at 
Peipmg  372,  described  364 

Maitreya  (Fig  65)  Nepalese  drawing  107, 
described  94 

Maitreya  (Fig  47)  Nepalese  drawing  69, 
described  81 

Mamaki  Buddh&s'akti  (Fig  24)  Nepalese 
drawing  61,  described  52 

Manipadma  Lokelvara  (Fig  22-A)  eye  copy 


of  painting  in  the  Machhandar  Vahal, 
Kathmandu  406,  described  396 

Manjukumara  (Fig  88)  Nepalese  drawing 
170,  described  120 

Manjunatha  Lokesvara  (Fig  96-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  424,  described  430 

ManjusrI  (Fig  66)  Nepalese  drawing  107, 
described  95 

ManjusrI  (Fig  74)  Baroda  Museum  metal 
statuette  with  Ganapati  and  Visnu  110, 
described  102 

Manjuvara  (Fig  83)  Birbhum  sculpture  169* 
described  117 

Manjuvara  (Fig  84)  Indian  Museum  sculp- 
ture 169,  described  118 

Manjuvara  (Fig  85)  second  Indian  Museum 
sculpture  169,  described  118 

Manjuvara  (Fig  86)  Nepalese  metal  statuette 
in  the  collection  of  Pandit  Siddhiharsha 
170,  described  118 

Manjuvara  (Fig  86)  Nepalese  metal  sta- 
tuette in  the  collection  of  Pandit  Si- 
ddhiharsha 170,  described  118 

Manjuvajra  (Fig  87)  Baroda  Museum  metal 
statuette  170,  described  119 

Maya's  Dream  (Fig  1)  bas-relief  on  the 
Bharhut  railings  in  the  Indian  Museum 
depicting  the  Buddha  as  White  Ele- 
phant entering  into  the  womb  of 
Mayadevi  83,  described  31 

Mayajalakrama  Lokesvara  (Fig  5A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  402,  described  394 

Mayajalakramakrodha  Lokesvara  (Fig 
15-A)  eye  copy  of  painting  in  the 
Machhandar  Vahal,  Kathmandu  404 > 
described  395 

Mina  (Fig  248)  metal  statuette  of  the 
Sign  of  the  Zodiac  in  the  Palace  Tem- 
ple afc  Peiping^W,  described  383 

Mojaghanjabala  (?)  Lokesvara  (Fig  2-A) 
eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  401,  described 
394 

Mortal  Buddhas,  seven  (Fig  45)  with 
Maitreya  in  an  Indian  Museum  sculp* 
ture  69,  described  77 

Mudras,  Buddha  in  different  see  Buddha 
in  different  Mudras 


INDEX  OF  ILLUSTRATIONS 


473 


Mukunda  (Fig  210)  metal  statuette  in  the 
Palace  Temple  at  Peiping  354,  described 
315 


N 


Nairatma  (Fig  1 48)  Indian  Museum  sculp- 
ture, slightly  mutilated  273,  described 
204 

Nairatma  (Fig  149)  metal  statuette  with  the 
lost  Khatvanga  in  the  Vnngiya  Sahitya 
Parisat  Museum  214,  described  204 

Namasangiti  (Fig  151)  metal  statuette  of 
Nepal  in  the  collection  of  Pandit  Siddhi- 
harsha  151,  described  207 

Namasangiti  Manjusri  (Fig  79)  Nepalese 
drawing  111,  described  116 

Namasangiti  Manjusri  (Fig.  80)  metal  sta- 
tuette in  the  Palace  Temple  at  Peiping 
112,  described  116 

Navami  Tithi  (Fig  244)  metal  statuette  of 
the  Time  deity  in  the  Palace  Temple  at 
Peiping  373,  described  382 

Nilakantha  (Fig.  116)  Sarnatha  Museum 
sculpture  262,  described  141 

Nilakantha  LokesVara  (Fig.  17' A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  405,  described  3% 

Nirukti  Pratisamvit  (Fig.  224)  metal  statu- 
ette in  the  Palace  Temple  at  Peiping 
359,  described  343 

Nityanatha  LokesVara  (Fig  103-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  426,  described  431 

Nrtya  (Fig-  208)  metal  statuette  from  the 
Palace  Temple  at  Peiping  354.  described 
314 


Padmanarttasvara  (Fig  112)  Nepalese 
drawing  in  the  company  of  the  Sakti 
261,  described  135 

Padmanarttesvara  (Fig.  1 10)  artistic  sculp- 
ture at  Saiasvatisthan  near  Simbhu  in 
Nepal  260,  described  133 

Padmanarttesvara  (Fig  111)  metal  statuette 
in  the  Palace  Temple  at  Peiping  261, 
described  134 


Padmapani  Bodhisattva  (Fig.  21)  full  size 
bronze  figure  in  a  monastery  at  Kath- 
mandu 60,  described  51 

Padmapani  Lokesvara  (Fig.  104-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  426,  described  431 

Pandara  Buddhasakti  (Fig.  20)  Nepalese 
miniature  60,  described  50 

Paramasva  (Fig.  132)  Nepalese  drawing 
showing  the  horse-head  268,  described 
186 

Parnasabari  (Fig  140)  sculpture  in  the  In* 
dian  Museum  270,  described  197 

Parnasabari  (Fig.  173)  full  page  reproduc- 
tion of  an  artistic  specimen  at  Vajra- 
yogini  in  Vikrampur  285,  described 
233 

Parnasabari  (Fig  174)  fine  sculpture  dis- 
covered in  Vikrampur  bv  Dr.  N  K. 
Bhattasali  286,  described  233 

Pindapatra  Lokesvara  (Fig  73-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal,. 
Kathmandu  419,  described  428 

Potapada  (?)  Lokesvara  (Fig  9-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  403,  described  395 

Prajnaparamita  (Fig  141)  the  most  artistic 
sculpture  from  Java  now  in  the  Leiden 
Museum  271,  described  198 

Frajnaparamita  (Fig  142)  Indian  Museum 
sculpture  271,  described  199 

Pranidhana  Paramita  (Fig  220)  metal  statue- 
tte in  the  Palace  Temple  at  Peiping  357, 
described  327 

Prasannatara  (Fig  192)  Nepalese  drawing 
of  the  eight-headed  and  sixteen-armed 
deity  292,  described  250 

Pratibhanakuta   (Fig  62)  Nepalese  drawing 

of  the  Bodhhisatt va  106,  described  92 
Pratibhanakuta  LokesVara   (Fig   40- A)  eye 
copy  of  painting  in  the    Machhandar 
Vahal,  Kathmandu  410,  described  396 
Pratibhaua    Pratisamvit     (Fig   225)   metal 
statuette  in  the  Palace  Temple  at  Peiping 
359,  described  343 
Pratyangira  see  Mahapratyangira 
Pratyangira  (Fig  144)  Nepalese  drawing  272, 

described  201 
Pratyangira  (Pig    145)    Nepalese   drawing 


60 


474 


BUDDHIST  ICONOGRAPHY 


272,  described  201 
Pratyangira  (Fig  146)  Nepalese  image  with 

innumerable  heads  &  arms  in  a  private 

collection  in  Nepal  272,  described  201 
Pretasantarpana  Lokesvara   (Fig   14-A)  eye 

copy  of  painting  in  the   Machhandar 

Vahal,  Kathmandu  404   described  395 
Pretasantarpita  (Fig  118)  Nepalese  drawing 

of  the  deity  showing  two  goblins   263, 

described  142 
Pukkas!  (Fig  204)   metal   statuette  in  the 

Palace  Temple  at  Peiping  296,  described 

311 
Pupala  (?)  LokesVara  (Fig  24- A)  eye  copy  of 

painting  in    the    Machhandar     Vahal, 

Kathmandu  406,  described  396 
Puspatara    (Fig  183)  metal  statuette  in    the 

Palace  Temple  at  Peiping  289,  described 

243 


R 


Rahu  (Fig  242)  metal  statuette  of  the 
planet  showing  the  Buffalo  chariot,  in 
the  Palace  Temple  at  Peiping  373,  des- 
cribed 377 

Rakta-LokesVara  (Fig  115)  metal  statuette 
in  the  Palace  Temple  at  Peiping  262, 
described  138 

Ratnadala  LokesVara  (Fig  75- A)  eye  copy 
of  painting  in  the  Machhandar  Vahal 
419,  described  429 

Ratnapani  Bodhisattva  (Fig  40)  full  size 
Nepalese  bronze  in  a  monastery  at 
Kathmandu  66,  described  74 

Rddhi  Vas*ita  (Fig  222)  metal  statuette  in 
the  Palace  Temple  at  Peiping  358,  des- 
cribed 330 

Ratnapani  (Fig  54)  Nepalese  drawing  71, 
described  87 

Ratnapani  LokesVara  (Fig  4  7- A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  412,  described  399 

Ratnasambhava  DhySni  Buddha  (Fig  37) 
Nepalese  miniature  in  the  collection 
of  Dr.  W.  Y.  Evans- Wentz  65,  des- 
cribed 74 

Ratnasambhaba  Dhyani  Buddha  (Fig  3  8) 
Nepalese  sculpture  from  a  road-side 
stupa  at  Kathmandu  65,  described  74 


Ratnolka  (Fig  2 14)  metal  statuette  in  the 
the  Palace  Temple  at  Peiping  356,  des- 
cribed 31 8 


Sadaksari  group  (Fig  96)  Birbhum  sculp- 
ture 174,  described  126 

Sadaksari  group  (Fig  95)  Indian  Museum 
sculpture  173,  described  126 

Sadaksari  group  (Fig  94)  Sarnath  Museum 
sculpture  showing  Manidhara  and 
Sadaksari  Mahavidya  in  full  form  173, 
described  126 

Sadaksaii  Lokesvara  (Fig  97)  Baroda  Mu- 
seum metal  statuette  174,  described 
126 

Sadaksari  Lokesvara  (Fig  6-A)  eye  copy  of 
painting  in  the  Machhandar  Vahal, 
Kathmandu  402,  described  395 

Sadaksari  Mahavidya  (Fig  98)  Sarnath  Mu- 
seum sculpture  174,  described  127 

Sadbhuja  Sitatara  (Fig  1711  Nepalese  draw- 
ing 284,  described  230 

Sagaramati  (Fig  55)  Nepalese  drawing  71, 
described  88 

Sagaramati  Lokesvara  (Fig  46-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  412,  described  399 

Sakyabuddha  Lokesvara  (Fig  33 -A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  408,  described  397 

Sakyabuddha  LokesVara  (Fig  92-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  423,  described  430 

Samantabhadra  (Fig  48)  Nepalese  drawing 
69,  described  84 

Samantabhadra  Bodhisattva  (Fig  32)  a  full 
size  Nepalese  bronze  in  a  monastery  at 
Kathmandu  63,  described  55 

Samantabhadra  LokesVara  (Fig  53- A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  414,  described  399 

Sangha  (Fig  11)  Nepalese  metal  statuette 
of  the  four-armed  deity  in  the  collec- 
tion of  Pandit  Siddhiharsha  40,  des- 
cribed 40 

£ankhanatha  LokesVara  (Fig  101-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  426,  described  430 


INDEX  OF  ILLUSTRATIONS 


475 


Santamati  Lokesvara  (Fig  95-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  424,  described  430 

Santasi  Lokelvara  (Fig  32-A)  eye  copy  of 
painting  in  the  Machhandar  Vahal, 
Kathmandu  408,  described  397 

Sarasiri  (?)  Lokesvara  (Fig  83-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  421,  described  429 

Sarthavaha  Lokesvara  (Fig  74-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  419,  described  428 

Sarvanivaranaviskambhi  (Fig  64)  Nepalese 
drawing  of  the  Bodhisattva  106,  des- 
cribed 93 

Sarvanivaranaviskambhi  Lokesvara  (Fig 
3 8- A)  eye  copy  of  painting  in  the 
Machhandar  Vahal,  Kathmandu  410, 
described  398 

Sarvapayairjaha  (Fig  70)  Nepalese  drawing 
of  the  Bodhisattva  108,  described  97 

Sarvapayanjaha  (Fig  71)  metal  statuette 
in  tho  Palace  Temple  at  Peiping  109, 
described  97 

Sarvasokatamoiarghatamati  (Fig  63)  Nepa* 
lese  drawing  oi  the  Bodliisattva  106, 
described  92 

Sarvasokatamonirghatamati  Lokesvara  (Fig 
39-A)  eye  copy  of  painting  in  the  Ma- 
chhanddr  Vahal,  Kathmandu  410,  des- 
cribed 398 

Seven  Mortal  Buddhas  with  Maitreya  see 
Mortal  Buddhas,  Seven 

Siddhaikavira  (Fig  77)  Sarnath  Museum 
statue  111,  described  114 

Simbhu  (Fig  6)  the  m^st  famous  Stupa 
in  Nepal  37,  described  32 

Simhanada  (Fig  9°)  full  page  illustration  of 
the  Mahoba  image  now  in  the  Lucknow 
Museum  175,  described  127 

Simhanada  (Fig  101;  sculpture  from  Ma- 
gadha  176,  described  128 

Simhanada  (Fig  100)  Nepalese  metal  sta- 
tuette with  a  large  size  lion  176,  des- 
cribed 128 

Simhanada  (Fig   102)   Nepalese  metal  sta- 
tuette 176,  described  128 
Simhanada  LokesVara  (Fig  85-A)  eye  copy 
of  painting  in   the  Machhandar  Vahal* 


Kathmandu  422,  described  429 

Simhanatha  Lokesvara  (Fig  20A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  405,  described  396 

Simhasya  (Fig  215)  unique  metal  statuette 
in  the  collection  of  Dr.  Moghe  of  Khar 
Bombay  356,  described  321 

Simhasya  (Fig  216)  upper  view  of  the 
image  showing  the  lion  head  in  the 
collection  of  Dr.  Moghe  ot"  Khar 
(Bombay)  356,  described  321 

Sirisara  (?)  Lokesvara  (Fig  80-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahai,  Kathmandu  420,  described  429 

Sitatapatra  Aparajita  (Fig  158)  Nepalese 
drawing  of  the  six  armed  deity  278, 
described  216 

Srimad-Aryavalokitesvara  (Fig  108-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  427,  described  431 

Srstikanta  Lokesvara  (Fi$  52  A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  413,  described  399 

Sthiracakra  (Fig  93)  sculpture  in  the  Van- 
giya  Sahitya  Parisat  Calcutta  173,  des- 
cribed 122 

Stupas  (Figs  6,  7,  8)— three  famous  stupas 
of  Nepal  illustrated  37,  described  32 

Stupa  of  Bauddh  (Fig  7)  in  Nepal  illustra- 
ted 37,  described  32 

Stupa  of  Kathc  Simbhu  (Hg  8)  in  Nepal 
illustrated  37,  described  32 

Stupa  of  Simbhu  (I  ig  6)  in  Nepal  illustra- 
ted 37,  described  32 

Sugatisandars'ana  (Fig.  117)  Nepalese  draw- 
ing 262,  described  141 

Sugatbandars'ana  Lokesvara  (Fig  16-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  404,  described  396 

fcukhavati  LokesVara  (Fig  1 19)  one  of  the 
many  sculptures  of  the  deity  found  in 
in  Nepal  262,  described  142 

SukhavatI  Lokesvara  (Fig  1 3- A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  404,  described  395 

Surangama  (Fig  73)  Nepalese  drawing  of 
the  Bodhisattva  109,  described  98 

Symbol  Worship  (Figs.  3,  4,  5)— Three 
bas-reliefs  from  Bharhut  Railings 


476 


BUDDHIST  ICONOGRAPHY 


preserved  in  the  Indian    Museum,  Cal- 
cutta 36,  described  31 


Talika  (Fig  211)  metal  statuette  in  the 
Palace  Temple  at  Peiping  355,  described 
316 

TSra  Buddhasakti  (Fig  35),  Nepalese  minia- 
ture 64,  described  73 

Trailokyavas'ankara  (Fig  1 14)  a  statuette  in 
the  Palace  Temple  at  Peiping  262,  des- 
cribed 137 

Triad,  Buddhist  (Figs  9,  10,  11)  three  metal 
statuettes  in  the  collection  of  Pandit 
Siddhiharsha  40,  described  32 

Trilokasandarsana  Lokesvara  (Fig  19-A) 
eye  copy  of  painting  in  the  Machhan- 
dar  Vahal,  Kathmandu  405,  described 
396 

Tula  (Fig  246)  metal  statuette  of  the  Sign 
of  the  Zodiac  in  tha  Palace  Temple  at 
Peiping  374,  described  383 


U 


Ucchusma  Jambhala  (Fig  130)  unique 
sculpture  showing  Ucchusma  standing 
on  Kubera  and  in  the  company  of 
Vasudhara,  in  the  Sarnath  Museum  267, 
described  180 

Upapati  Vasita  (Fig  221)  metal  statuette  in 
the  Palace  Temple  at  Peiping  358,  des- 
cribed 330 

Usnisavijaya  (Fig  156)  full  page  illustra- 
tion of  an  artistic  specimen  in  the 
Indian  Museum  277,  described  215 

Usnisavijaya  (Fig  157)  Nepalese  miniature 
in  the  collection  of  Dr.  W.  Y.  Evans- 
Wents  278,  described  215 

Utnauti  (?)  LokesVara  (Fig  25-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  407,  described  397 


VaglsVara  (Fig  81)     an    Indian  Museum 

sculpture  112,  described  117 
Vagilvara  (Fig  82)  Nepalese  bronze  from  a 


private  collection  112,  described  117 

Vairocana  Dhyani  Buddha  (Fig  28)  Nepa- 
lese miniature  in  the  collection  of  Dr. 
W.  Y.  Evans-Wentz  62,  described  54 

Vairocana  Dhyani  Buddha  (Fig  29)  Nepa- 
lese bronze  in  the  private  collection  in 
Kathmandu  62,  described  54 

Vairocana-Vajradhara  (Fig  30)  metal  sta- 
tuette in  the  Palace  Temple  at  Peiping 
63,  described  54 

Vajracarcika  (Pig  143)  Nepalese  drawing 
showing  her  emaciated  form  271,  des- 
cribed 200 

Vajradhara-Adibuddha  see  Adibudda  Vajra- 
dhara 

Vajradhara  (Fig  13)  Baroda  Museum  sta- 
tuette showing  his  single  form  58,  des- 
cribed 44 

Vajradhara  Yab-yum  (Fig  14)  58,  front 
view  of  a  Nepalese  metal  statuette  in 
the  collection  of  Pandit  Siddhiharsha 
58,  described  43 

Vajradhara  Yab-yum  (Fig  15)  side  view  of 
a  Nepalese  metal  statuette  in  the  collec- 
tion of  Pandit  Siddhiharsha  58,  des- 
cribed 43 

Vajradhara  (Fig  16)  six-armed  statuette  of 
the  deity  *in  the  Baroda  Museum  58, 
described  43 

Vajradharma  (Fig  120)  Nepalese  drawing 
of  the  deity  showing  the  Peacock  vehicle 
264,  described  143 

Vajradharma  Lokesvara  (Fig  23 -A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  406,  described  396 

Vajradhatu- Vairocana  (Fig  30)  metal  sta- 
tuette in  the  Palace  Temple  at  Peiping 
63,  described  54 

Vajradhatu  Lokesvara  (Fig  91 -A)  eye 
copy  of  painting  in  the  Palace  Temple 
at  Peiping  423,  described  430 

VajradhatvisVar!  Buddhasakti  (Fig  39) 
Nepalese  miniature  66,  described  74 

Vajragaibha  (Fig  56)  Nepalese  drawing  of 
the  Bodhisattva  72,  described  88 

Vajragarbha  Lokesvara  (Fig  45-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  412,  described  399 

Vajrahuntika  (?)    LokesVara      (Fig     35-A) 


INDEX  OF  ILLUSTRATIONS 


477 


eye  copy  of  painting  in  the  Machhan- 
dar Vahal,  Kathmandu  409,  described 
398 

Vajrakhanda  Lokelvara  (Fig  78-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  420,  described  429 

Vajrananga  (Fig  78)  Nepalese  drawing   111, 

described  115 

Vajranatha  Lokesvara  (Fig  107-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  427,  described  431 

Vajrapani  Bodhisattva  (Fig  26),  Indian  Mu- 
seum sculpture  of  the  Bodhisattva  62, 
described  53 

Vajrapani  Bodhisattva  (Fig  27)  sculpture 
in  the  Nalanda  Museum  62,  described 
53 

Vajrapani  Bodhisattva  (Fig  25)  full  size 
Nepalese  bronze  in  a  monastery  at 
Kath-nandu  61,  described  53 

Vajrapani  Lokesvara  (Fig  105-A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal  Kathmandu  427,  described  431 

Vajrapasi  (Fig  193)  metal  statuette  in  the 
Palace  Temple  at  Peipmg  293,  described 
297 

Vajraraga  (Fig  75)  Baroda  Museum  metal 
stauette  110,  described  103 

Vajraraga  (Fig  76)  Nepalese  drawing  110, 
described  103 

Vajrasana  (Fig  46)  Indian  Museum  sculp- 
ture showing  the  two  companions 
LokesVara  and  Maitreya  illustrated  68, 
described  78 

Vajrasarada  (Fig  232)  Nepalese  drawing 
369,  described  351 

Vajrasarada  (Fig  233)  sculpture  showing 
the  central  deity  wfrh  her  four  com- 
panions in  the  Sarnath  Museum  370, 
described  351 

VajrasarasvatI  (Fig  235)  Nepalese  drawing 
of  the  goddess  370,  described  353 

Vajrasattva  (Fig  41)  Nepalese  sculpture  in 
a  monastery  at  Kathmandu  66,  described 
75 

Vajrasattva  (Fig  42)  Baroda  Museum  bron* 
ze  illustrated  67,  described  75 

Vajrasattva  Yab-yum  (Fig  43)  Nepalese 
bronze  in  the  collection  of  Pandic 


Siddhiharsha  67,  described  75 

Vajrasattva  Yab-yum  (Fig  44)  side  view  of 
the  Nepalese  bronze  in  the  collection 
of  Pandit  Siddhiharsha  67,  described 
75 

Vajrasattvadhatu  LokesVara  (Fig  88- A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu,  422.  described  429 

Vajrasphota  (Fig  194)  metal  statuette  in 
the  Palace  Temple  at  Peiping  293,  des- 
cribed 298 

Vajrasrnkhala  (Fig  17*>)  Nepalese  drawing 
of  the  six-armed  deity  2N6,  described 
235 

Vajrasrsta  Lokesvara  (Fig  100- A)  eye  copy 
of  painting  in  the  Machhandnr  Vahal, 
Kathmandu  425 

Vajratara  (Fig  182)  sculpture  at  Sarasvatis- 
tan  near  Svayambhunath  in  Nepal  289, 
described  243 

Vajratara  (Fig  18J)  Orissa  sculpture  dis- 
covered in  the  State  of  Mayurbhanj 
289,  described  243 

Vajrataia  (Fig  180)  Indian  Museum  bronze 
in  the  form  of  a  lotus  with  eight  petals 
showing  the  principal  deity  in  centre 
with  eight  companions  288,  described 
243 

Vajravarahi  (Fig  160)  beautiful  bronze 
statuette  in  the  Baroda  Museum  279, 
described  2 19 

Vajravarahi  (Fig  159;  Nepalese  drawing 
depicting  the  excrescence  near  the  right 
ear  279,  described  219 

Vajravidaranl  (Fig  150)  Nepalese  miniature 
in  the  collection  of  Dr.  W.  Y.  Evans- 
Wentz  274,  described  205 

Vajravina  Sarasvat!  (Fig  231)  metal  statuet- 
te in  the  Palace  Temple  at  Peiping  369, 
described  350 

Vajrayogini  Temple  at  Sanku  (Fig  191) 
illustrated  292,  described  248 

Vajrosnlsa  (Fig  195)  metal  statuette  in  the 
Palace  Temple  at  Peiping  293,  described 
300 

Vajrosnisa  LokesVara  (Fig  34' A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  409,  described  398 
Varadayaka  LokesVara  (Fig  11 -A)  eye  copy 


478 


BUDDHIST  ICONOGRAPHY 


of  painting  in  the  Machhandar    Vahal, 
KatJbmandu  403,  described  395 

Vasudhara  (Fig  186)  Kepalese  drawing 
of  the  deity  with  two  arms  290,  des- 
cribed 245 

Vasudhara  (Fig  187)  fine  sculpture  of  the 
six  armed  form  of  the  deity  291,  des- 
cribed 245 

Vasudhara  (Fig  188)  metal  statuette  of  the 
six  armed  form  of  the  deity  in  the 
Baroda  Museum  291,  described  245 

VasVfidhikara  LokesVara  (Fig  8-A)  eye 
copy  of  painting  in  the  Madhhandar 
Vahal,  Kathmandu  402,  described  395 

VasVatara  (Fig  170)  Nepalese  drawing  284, 
described  230 

Vayu  (Fig  238)  a  metal  statuette  in  the 
Palace  Temple  at  Peiping  371,  des- 
cribed 362 

Vetall  (Fig  202)  matal  statuette  in  the 
Palace  Temple  at  Peiping  296,  described 
31J 

Vidyapati  Lokesvara  (Fig  102-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal 
Kathmandu  426,  described  430 

Vighnantaka  (Fig  131)  bron/e  statuette  in 
the  Baroda  Museum  267,  described 
181 

Vina  (Fig  209)  metal  statuette  in  the 
Palace  Temple  at  Peiping  354,  des- 
cribed 315 

Visnucakra  Lokesvara  (Fig  97-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  425,  described  430 

Visnukanta  Lokf»svara  (Fig  99-A)  eye 
copy  of  painting  in  the  Machhandar 


Vahal,     Kathmandu     425,       described 
430 

Visnupani  Lokesvara  (Fig  76-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  419,  described  429 

Visvabhuta  Lokesvara  (Fig  89-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  423,  described  430 

Visvahana  Lokesvara  (Fig  30-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  408,  described  397 

VisVapani  Bodhisattva  (Fig  36)  full  size 
Nepalese  bronze  in  a  monastery  at 
Kathmandu  65,  described  73 

VisVavajra  Lokesvara  (Fig  86-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  422,  described  429 

Vrsnacana  (?)  Lokesvara  (Fig  26- A)  eye 
copy  of  painting  in  the  Machhandar 
Vahal,  Kathmandu  407,  described 
397 

W 

Wheel-of-the-Law  (Fig  5)  symbol  of 
Lord  Buddha  appearing  on  a  bas-relief 
on  the  Bharhut  railing  in  the  Indian 
Museum  36,  described  31 


Yamadanda  Lokesvara  (Fig  33-A)  eye  copy 
of  painting  in  the  Machhandar  Vahal, 
Kathmandu  409,  described  397 

Yogambara  (Fig  133)  metal  statuette  in  the 
Palace  Temple  at  Peiping  depicting  his 
yab-yum  form  268,  described  186